Advanced Photoshop Elements 6 for Digital Photographers by bru gnone

Photoshop Elements 6

INTRODUCTION

Advanced

For Digital Photographers Philip Andrews

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First edition 2008 Copyright © 2008, Philip Andrews. Published by Elsevier Ltd. All rights reserved The right of Philip Andrews to be identiﬁed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone (+44) (0) 1865 843830; fax (+44) (0) 1865 853333; email: permissions@elsevier.com. Alternatively you can submit your request online by visiting the Elsevier website at http://elsevier.com/locate/permissions, and selecting Obtaining permission to use Elsevier material Notice No responsibility is assumed by the publisher for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions or ideas contained in the material herein. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress ISBN: 978-0-240-52097-1 For information on all Focal Press publications visit our website at www.focalpress.com Printed and bound in Canada Layout and design by Karen and Philip Andrews in Adobe InDesign CS2 08 09 10 11 11 10 9 8 7 6 5 4 3 2 1

Acknowledgements Karen for your support, love and patience always and Adrian and Ellena for keeping me balanced. And as always, my thanks goes to the great team at Focal Press, especially Marie Hooper, Emma Baxter, Stephanie Barrett, Debbie Clark and Margaret Denley – you always make me look good. Cheers to Richard Coencas and Don Day for their technical comments and direction and to the supportive staff at Adobe in the UK, Australia and USA ofﬁces. Much appreciation to Mike Leavy, Adobe Engineering Manager for Elements products and Nigel Atherton, editor of What Digital Camera and Better Digital Photography magazines for your kind words of introduction to this text.

Picture credits With thanks to the great guys at www.ablestock.com for their generous support in supplying the cover picture and the tutorial images for this text. Copyright © 2008 Hamera and its licensors. All rights reserved. All other images and illustrations by Karen and Philip Andrews © 2008. All rights reserved.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Contents

The Next Level

Scanner and Camera Techniques

The comprehensive Photoshop Elements workﬂow Elements basics Basic Elements workﬂow

vi viii

1 4 6 10

The basics – resolution 14 2.01 How many pixels do I need? 16 The basics – color depth 18 2.02 More colors equal better quality 20 Digital shooting technique 22 2.03 Exposure compensation 24 Frame-by-frame control 25 2.04 Contrast 26 2.05 Color saturation 27 2.06 Image sharpness 28 2.07 White balance control 29 2.08 Applying fine-tuning automatically 33 2.09 Customizing your white balance 34 2.10 Shooting Raw for ultimate control 35 So what is in a Raw file? 37 The Raw advantage 39 2.11 Shooting workflows 40 Film and print scanners 41 2.12 Scanning resolution – ‘Know where you are going before you start the journey’ 42 2.13 Color depth 43 2.14 Multi-sample 44 2.15 Highlight and shadow capture 45 2.16 Color cast correction 46 2.17 Dust and scratches 47 2.18 Noise Reduction technologies 48 2.19 Color regeneration features 49 2.20 Scanning workflow 50 Fixing common shooting problems 51 Fixing common scanning problems 53

Processing Raw ﬁles

The Photoshop Elements approach to Raw processing 3.01 Enabling your Raw camera 3.02 Modifying your capture workﬂow for Raw 3.03 Using the Adobe Photo Downloader 3.04 The Adobe Camera Raw interface 3.05 The Conversion process 3.06 Keeping ACR up to date 3.07 Other Raw plug-ins

55 56 57 59 61 64 83 88 88

Photo Organization and Management 89

4.01 Add picture details in-camera

90 92 92 93 94 95 96 98 100 103 105 107

Pathways to Editing in Elements

109

Auto editing summary Automatic editing Editing Options: 5.01 Auto Smart Fix 5.02 Auto Red Eye Fix 5.03 New auto options for version 6 Automating editing of several pictures at once 5.04 Processing multiple ﬁles 5.05 Multi-selection editing 5.06 Bulk Red Eye ﬁxing Semi-automatic editing 5.07 Using the Quick Fix Editor Semi-auto editing summary 5.08 Adjust Smart Fix Manual editing 5.09 The Full Edit workspace Manual editing summary New editing options in Photoshop Elements 6 5.10 Guided Edits Non Destructive editing, the professional’s choice 5.11 Adjustment Layers 5.12 ‘All Layers’ tool options 5.13 Blend Modes 5.14 Layer Masking 5.15 Duplicate layers Giving Elements a helping hand 5.16 Borrowing Photoshop features 5.17 Advanced layer masks

110 110 110 111 111 111 113 113 114 114 115 115 115 116 117 117 117 119 119 120 121 122 123 124 125 127 127 129

Image Changes – Beyond the Basics 131

Advanced selection techniques 6.01 Adding to and subtracting from selections 6.02 Using the Selection Brush 6.03 The Quick Selection Tool 6.04 Advanced reﬁning of selection edges 6.05 Saving and loading selections 6.06 Modifying selections 6.07 Transforming a selection 6.08 Precise control of selection size Understanding layers The magic of Frame layers Masking techniques

132 132 132 134 135 137 138 139 141 142 143 147

CONTENTS

Foreword Introduction

4.02 Organize photos whilst downloading 4.03 Captioning 4.04 Naming and renaming 4.05 Tagging your photos 4.06 Auto Face Tagging 4.07 Albums and how to group photos 4.08 Using Smart Albums 4.09 Changing your view 4.10 Locating ﬁles 4.11 Creating a backup 4.12 Versioning your edits 4.13 Creating Image Stacks

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CONTENTS

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS 6.09 Painting masks with the Selection Brush 147 6.10 Fill and adjustment layer masks 148 6.11 Using selections with layer masks 149 6.12 ‘Group with Previous’ masks 149 6.13 Changing the mode to grayscale 150 6.14 Desaturate the color file 151 6.15 A more sophisticated approach 153 6.16 The Convert to Black and White feature 154 6.17 Custom entries in Convert to Black and White 156 6.18 The Gradient Map conversions 157 6.19 Borrowing Photoshop’s Black and White 158 Advanced dodging and burning-in 159 6.20 Using selections to change tone 159 6.21 Erase back through tonal layers 161 6.22 Paint on dodging and burning-in 163 6.23 Blend mode Dodge and Burn 164 Enhance your poorly exposed pictures 165 6.24 Screening image layers to enhance tones 165 6.25 Adding detail to highlights and shadows 168 Tinted monochromes 169 6.26 Using Hue and Saturation to tone your pictures 170 6.27 Tinting borrowed from Photoshop 172 Split toning 173 6.28 Select and tone 173 6.29 Two-layer erase 175 6.30 Color Variations based split toning 176 6.31 Photoshop’s Color Balance split toning in Elements 176 Black and white and color 178 6.32 Layer mask and gradient map 178 Border techniques 179 6.33 Simple borders 179 6.34 Sophisticated edges using grayscale masks 180 6.35 Creating frames with Frame layers 181 6.36 Add Noise filter 183 6.37 Grain filter 184 6.38 Non-destructive textures 185 Advanced sharpening secrets 186 6.39 Unsharp Masking to the rescue 187 6.40 Adjust Sharpness for the ultimate control 189 6.41 Another approach 190

Darkroom Techniques on the Desktop 191

7.01 Diffusion printing 7.02 Instant film transfer effect 7.03 Using the Unsharp Mask filter to add contrast 7.04 Lith printing technique 7.05 Correcting perspective problems 7.06 Add emphasis with saturation 7.08 Cross-processing effects 7.09 Digital hand coloring 7.10 Realistic depth of field effects 7.11 Beyond the humble drop shadow 7.12 Ring flash shadow 7.13 Elements’ Curves features 7.14 Using Photoshop’s Curves in Elements 7.15 Combining images seamlessly

192 194 198 200 202 204 206 208 211 215 219 220 223 224

7.16 Believable montages – a step further 7.17 Producing high-key pictures 7.18 Correcting lens problems 7.19 Change to old 7.20 Painterly photos

226 229 231 233 235

Professional Retouching

Photo Restoration

253

9.01 Restoration basics 9.02 Dust and scratches be gone 9.03 Uncovering the faded 9.04 Levels based color restoration 9.05 Working with a scanned print 9.06 Extra correction help 9.10 Adjusting shadow tones 9.11 Recreating missing content 9.12 Removing stains ACR and JPEG/TIFF ﬁles

256 258 260 262 264 266 267 268 269 269

8.01 Adding a dreamy effect 8.02 Softening freckles 8.03 Eliminating blemishes Clone Stamp tool Healing Brush tool Spot Healing Brush Clone Stamp tool step-by-step Healing Brush tool step-by-step Spot Healing Brush tool step-by-step 8.04 Removing the Red 8.06 Brighten Eyes 8.07 Tone down skin highlights and shadows Sample all layers Retouch duplicate layer 8.08 Retouching non-destructively Mask editing adjustments Use Adjustment layers

Making Better Panoramas

Advanced shooting techniques 10.01 Positioning the camera 10.02 Camera support Other capture methods 10.03 Exposure 10.04 Focus and zoom 10.05 Depth of ﬁeld 10.06 White balance 10.07 Timing 10.08 Ensuring consistent overlap 10.09 Dealing with the moving subject 10.10 Advanced panorama editing in Photoshop Elements 6 10.11 Fixing misaligned picture parts 10.12 Coping with extremes of brightness

239 242 243 244 244 244 245 246 247 247 248 250 251 252 252 252 252 252

271 279 279 280 283 284 285 285 287 288 289 290 292 295 295

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Extending Your Web Abilities

Building websites – the basics 11.01 Elements’ Online Galleries websites Creating individual web assets using Photoshop Elements 11.02 Optimizing photos for the web 11.03 Making seamless backgrounds 11.04 Using background matting

Free Form Photo Collages

Before you start – edit then layout 12.01 Basic steps for layout creation 12.02 The new super Project Bin 12.03 Editing existing Photo Collages 12.04 Adding, removing and replacing photos 12.05 Adding, moving and deleting pages 12.06 Using the Content and Effects palettes 12.07 Align, arrange and distribute your frames 12.08 Printing your Photo Collages and Photo Books Order a Kodak Photo Book or Kodak Prints

Finely Crafted Output

298 299 300 302 303 304 306 310

311 313 315 318 319 321 322

323 325 326 328 330 332 334 336 340 342 343

345

Printing basics 346 The inkjet printer 348 Laser 350 Dye Sublimation 350 Other printing processes 351 Image resolution vs printer resolution 352 13.01 Basic steps 353 13.02 Creating contact sheets 356 13.03 Multiple prints on a page 357 Ensuring color consistency between devices 358 13.04 Setting up a color-managed workﬂow 361 13.05 Calibrating your screen – ColorVision Spyder 366 Getting intimate with your printer 368 13.06 Calibrating your printer – resolution, color, tone and sharpness tests 368 13.07 Calibrating your printer – ColorVision PrintFIX 372 13.08 Making great black and white prints 374 13.09 What about permanence? 377 13.10 Preparing your images for professional outsourcing 381 13.11 Shoot small print big 383 13.12 Printing workﬂow 386

Appendices Blend modes Faster Elements at no extra cost Plug-ins Jargon buster Keyboard shortcuts Elements/Photoshop feature equivalents

Index

387 388 390 392 394 399 402

403

CONTENTS

10.13 Creating artiﬁcially increased DOF 10.14 Correcting exposure differences 10.15 Adjusting for changes in color balance 10.16 Vertical panoramas 10.17 High-resolution mosaics 10.18 Panoramic printing 10.19 Spinning panorama movies 10.20 Panorama workﬂow

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

FOREWORD

Foreword Nearly without exception, human beings the world over are fascinated by the photograph. A photograph is a timeless, compelling, emotive and honest representation of our world; of the places we’ve been, the events we’ve witnessed, the people we’ve met and loved. The photograph is a reflection of our world and ourselves; our mind’s eye projected onto cotton vellum or computer screen. The persistence of vision ex machina. Indeed, the photographic image is the true iconography of the modern world. For the photography enthusiast, these are very exciting times. In the span of less than 10 years, we have witnessed the evolution of photography from a mostly silver halide film-based process to a completely digital process. The individual photographer now has the capability to shoot, ‘develop’, and create prints using an entirely digital workflow, and completely within the comfortable confines of his or her own study. This new-found freedom from film and the complicated processing thereof is largely due (of course) to the ready availability of affordable digital cameras and photo-quality printers; but it is due also, in no small part, to the efforts of the people at Adobe Systems. Adobe is committed to empowering the digital photographer by providing the most powerful and excellent tools available for rendering, manipulating and printing digital images. Among the most popular and successful of these tools is Adobe Photoshop Elements. Although one of the original design intents behind Photoshop Elements was to make many of the most common image enhancement tools more readily available and noticeable to the novice

Foreword

Advanced Photoshop Elements for Digital Photographers is a beautifully rendered and compellingly written exploration of the advanced features and techniques that can be accomplished with Photoshop Elements. Through the use of many sample photographs, screen shots and clearly illustrated examples, Mr Andrews provides us with the tools to turn our images into exciting and compelling works of art. From careful and thoughtful descriptions of the basics of tonal adjustments and camera and scanner settings to detailed explanations for creating traditional photographic effects such as lith print style reproductions, Advanced Photoshop Elements 6 for Digital Photographers will provide you with an entire arsenal of tools for adding emphasis, detail, and clarity to your images and for exposing and enhancing their inherent beauty. If you love photography as much as I do, you are in luck with this book. Enjoy. Mike Leavy Engineering Manager for Elements products Adobe Systems, Inc.

FOREWORD

user, there is still much depth behind this initial surface. Fortunately for both Adobe and its customers, talented writers such as Philip Andrews have resolved to explore this depth and, in easy-to-understand language and step-by-step guidance, provide access to you, the reader.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

INTRODUCTION

Introduction When Photoshop Elements came out it was assumed by many that, because it was so inexpensive, it would be the sort of program that you could master in a couple of hours – it certainly wouldn’t require a huge learning curve and probably, let’s face it, a chunky manual to get to grips with it, as its professional sibling, Photoshop, does. But how wrong we were. Budget certainly doesn’t mean basic in this case, and Adobe has packed so much into Photoshop’s little brother that you really do need an expert guide to get the best out of it, to lead you through all those nooks and crannies and show you all the cool tricks that are not obvious to the casual user. But who to choose to be that guide? Well for me there’s only one person, and luckily for you it’s the one whose name is on the cover of this book. Philip Andrews is an enigma. As editor of the UK’s leading digital photography magazine I require two main qualities from my contributors: they have to be real experts who possess a truly in-depth knowledge of their subject, and they have to be able to communicate that knowledge in simple layman’s terms that anyone can understand. (They also have to be reliable and hand their copy in on time, but that’s another story!) Well there are plenty of experts and plenty of communicators, but you’d be amazed at how rare it is to ﬁnd someone who is both, as Philip is. Philip Andrews knows Elements better than anyone else I know. He also writes in a friendly, entertaining and non-academic style – despite the fact that he is a senior lecturer in photography. He has a great understanding of the needs of the end user and his knowledge and enthusiasm for digital imaging (and photography in general) shine from every sentence. He’s an accomplished photographer too, so he not only talks the talk but walks the walk, and uses many of his own excellent images to illustrate his points. Having already covered the fundamentals of Elements in his last book Philip now moves on to more complex themes and ideas, things which you might (wrongly) have considered a bit ambitious for Elements. As before he puts the software into the wider context of digital imaging in general and explains the why as well as the how. Once again there’s a great linked website that allows you to download some of the images used in the book and try the techniques out for yourself. With Philip as your guide you’ll be using Elements like a pro and making great images in no time. Good luck. Nigel Atherton Editor What Digital Camera magazine, UK

THE NEXT LEVEL

The Next Level

Book resources at: www.adv-elements.com ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

THE NEXT LEVEL

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

here is no doubt that when Adobe decided to release Photoshop Elements photographers the world over rejoiced. Not content with their offerings for entry and intermediate users in the past and ever conscious of the growing digital camera user base, the Adobe boffins created the new package with you, the digital photographer, firmly in their mind. Despite the rumors spread by the ‘Photoshop Snobs’ that the product was just a cut down version of Adobe’s professional package and that any serious editing will need to be completed in Photoshop, users the world over are realizing just how well Photoshop Elements fits their needs.

A true photographer’s tool Adobe had finally heard the cries of the mortals and produced an image manipulation package that has the strength of Photoshop with the price tag more equal to most budgets. Elements gives desktop image-makers top quality image editing and management tools that can be easily used for preparing pictures for printing or sharing via the web or CD. Features like the panoramic stitching option, called Photomerge, and the Photo Browser are firm favorites and were featured in this package before they ever appeared in Photoshop. The color management and vector text and shape tools are the same robust technology that drives Photoshop itself, but Adobe has cleverly simplified the learning process by providing an easier-to-use interface and options like step-by-step interactive recipes for common image manipulation tasks. These, coupled with features like Quick Selection tool, Adjust Color Curves and the Convert to Black and White feature, make the package a digital photographer’s delight. As a photographer, teacher and author I was captivated by the simplicity and strength that Adobe has crammed into the package and knew that this was just the sort of image editing program that would satisfy the demands of the digital camera users I met every day. So to accompany Elements version 1.0, I released a new book which was an introduction to the package and digital imaging in general. Titled Adobe Photoshop Elements – A visual introduction to digital imaging it quickly became a best-seller and was followed up with a series of new and revised editions to accompany ongoing versions of the program.

Beyond the companion introduction title >> This book is the result of many requests to provide a ‘next step’ that will take Elements users beyond the basic concepts and skills outlined in the introductory text, Adobe Photoshop Elements – A visual introduction to digital imaging. (a) Edition 1. (b) Edition 2. (c) Edition 3. (d) Edition 4. (e) Edition 5. (f) Edition 6.

Book resources at: www.adv-elements.com

As Elements users became more familiar with the concepts and tools used in the program it wasn’t long before I started to receive requests for more advanced techniques than those presented in this introductory text. These were quickly followed by queries about how to position Elements as the key ‘image editing component’ in a high quality photographic workﬂow that encompassed capture, management, manipulation and output activities.

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Elements is central >> Photoshop Elements is the pivot point for all editing and enhancement tasks involved in the production of quality photographic images. The digital production process involves four distinct steps – (a) capture, (b) manipulation, (c) management and (d) output.

This book is my answer to these requests. With well over 140 new techniques it provides professional tips aimed at advancing your Elements skills beyond the basics. It is presented in a series of highly illustrated step-by-step color tutorials that show you what can be achieved. The techniques are discussed in the greater context of professional quality workﬂows that cover camera and scanner capture, raw processing, picture management, panorama production and quality print and web production. Each technique is cross-referenced with related skills and ideas in the book and there are on-line resources and tutorials at the book’s website –

www.adv-elements.com Here you can download and practise with many of the example images, video tutorials and resources used in the production of the book. Key settings for important dialog boxes are presented along with the illustrated steps needed for you to complete each technique. By working side by side with this text, your favorite image editing program and the associated web resources, you will quickly build both your Elements skills and your general understanding of the processes involved in creating quality photographic images.

Step-by-step >> The techniques in the book are presented in a highly illustrated step-by-step fashion that will progressively build your Elements skills. (a) Cross-referenced techniques. (b) Step-by-step illustrations.

Book resources at: www.adv-elements.com

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

THE NEXT LEVEL

The comprehensive Photoshop Elements workflow Over the past few versions of the program Adobe has made massive changes to the way that users work in Elements. These changes have converted Photoshop Elements from simply being a photo editing program into a complete digital photography system. Now in its sixth revision, Elements provides a total workflow solution from the moment you download your files from camera, phone, scanner or the net, through organization and manipulation phases and then onto printing or outputting the pictures electronically (online gallery, email attachments) or as print. Understanding how the various components in the system fit together will help you make the most of the software and its powerful features.

The Adobe Photo Downloader feature and Get Photos command allow you to preview, select and download ﬁles from a variety of different sources.

IMPORT

The Organizer component (a) of Elements works like a ‘super’ file browser allowing you to import and organize pictures straight from your camera, scanner, the net or your hard drive. You can view the photographs via the Photo Browser or Date View options. Pictures can be grouped into Albums (previously called Collections) and you can find specific images via the unique ‘keyword tags’ that you attach to the files. In Date View (b) images are grouped and displayed based on the date they were taken. The Map View (c) displays photos according to their location on a map with options to share the referenced map with others.

ORGANIZE

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The Full Edit workspace contains all the familiar editing and enhancement tools that Elements users have come to expect. It is here that you can take full control over the manipulation and ﬁne-tuning of your pictures. You can also add text, play with layers, create multi-picture composites and combine all manner of special effects with your original photo.

EDIT & ENHANCE

The Print options in Elements 6 are a little different from earlier versions of the program. Now you can choose to print individual photos or multiple pictures on a single sheet of paper. You can also preview and print individual pages of the new multi-page .PSE document. As an added bonus, when printing from the Organizer workspace, decorative frames can be added to the images right from the Print Multiple Photos dialog box.

QUICK EDITS The Quick Fix editor provides a series of one-click or semiautomatic ﬁxes for common problems with lighting, contrast, color and sharpness. All the controls are contained in the one screen for speed and you can conﬁgure the display to show before and after versions of the photo.

GUIDED EDITS The new Guided Edit mode combines step-by-step instructions with controls and tools embedded into the instructions. This is a good place to learn new techniques or get up to speed on how to use new tools and features.

In version 6, the photo projects options have been split into two different categories. Now you can select the various project options from either the Create or Share panels on the right of the Organizer or Editor workspaces. Entries found here use a step-by-step approach to create such projects as slide shows, VCD presentations, photo album pages, and greetings cards, calendars and photo galleries.

CREATE & SHARE

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

THE NEXT LEVEL

Elements basics Most digital image-makers find that there are several enhancing steps that they always perform on a newly acquired picture. These changes are often among the first skills that the new Elements user learns. Despite the fact that this book is designed to build upon such basic techniques I thought that it would be best to revisit them briefly to ensure that we are all working from the same game plan. For the most part these changes follow a predictable sequence: Import, Organize, Orientate or Straighten, Crop, Adjust Tones, Alter Color, Apply Sharpness and Save.

Step 1 >> The Welcome screen provides simple and easy access to different parts of the Photoshop Elements system.

These basic alterations take an image captured by a camera or scanner and tweak the pixels so that the resultant picture is cast-free, sharp and displays a good spread of tones.

Importing photos When opening Elements the user is confronted with the Welcome screen containing a variety of options. From this screen you can choose to organize, edit or share your pictures. The ﬁrst step for most Elements users is to import their photos from a digital camera or scanner. This task is generally handled by the Adobe Photo Downloader which will automatically start when a camera or card reader is attached to the computer. The ﬁles are downloaded and cataloged in Elements with the utility.

Step 2 >> Choose the location of the ﬁles to import from the list in the File > Get Photos and Videos menu or shortcut.

Alternatively you can import ﬁles from other sources or activate the downloader manually from inside the Organizer workspace, which is accessed via the View and Organize selection in the Welcome screen. See Step 1. This feature provides a visual index of your pictures and can be customized to display the images in Browser, Date or Folder mode and thumbnails can be sorted by keyword tags, title, media, metadata or collection. To start your ﬁrst catalog simply select the Organizer: File > Get Photos and Videos menu option. Choose one of the Book resources at: www.adv-elements.com

Step 3 >> Add naming, destination folder and deletion details for the transferred ﬁles in the Downloader dialog.

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listed sources of pictures provided and follow the steps and prompts in the dialogs that follow. See Step 2. THE NEXT LEVEL

Basic organization When using the Photo Downloader you can add naming, destination folder and deletion details and in the Advanced dialog you can also apply metadata, auto stack, fix red eye and add group tags to photos automatically. See Step 3. After downloading, or importing, the files are previewed as thumbnails in the Organizer workspace. At this time it is a good idea to make use of some of Elements’ brilliant organizational features to help manage the files before jumping into editing and enhancement activities. Add keyword tags, to you photos by click-dragging existing entries from the Keyword Tags pane onto your photos. See Step 4. Alternatively, add your own Keyword Tag entries using the new option (+ button) at the top of the pane. See Step 5. Adding Keyword Tags to your photos means that you can search for and locate individual files based on this association.

Step 4 >> Add Tags to the thumbnails by clickdragging the entry from the Tags pane onto the photo.

Along with Keyword Tags you can also group your images into Albums (previously called Collections) and in version 6 you have the added option of using Smart Albums that automatically update each time you add pictures to Elements.

Changing a picture’s orientation

Step 5 >> Add a different Tag entry by clicking the New button and adding details in the Create Keyword Tag dialog.

Turning your camera to shoot images in Portrait mode will generally produce pictures that need to be rotated to be viewed correctly. Elements provides a series of dedicated rotate options that are available from inside the Photo Browser workspace. Simply right-click the thumbnail and select an option from the pop-up list. See Step 6. While organizational tasks and some simple automatic enhancement changes are handled in the new Fix pane of the Photo Browser workspace, more controllable edits are applied in either the Quick, Guided or Full Edit workspaces. So for the next set of changes the picture is passed to the Editing workspace. Do this by selecting the Go to Standard Edit option from the right-click thumbnail menu. See Step 7.

Step 6 >> Orientate the photo using one of the options in the right-click menu of the Photo Browser workspace.

Book resources at: www.adv-elements.com

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

THE NEXT LEVEL

Cropping and straightening Most editing programs provide tools that enable the user to crop the size and shape of their images. Elements provides two such methods. The ﬁrst is to select the Rectangular Marquee tool and draw a selection on the image the size and shape of the required crop. Next choose Image > Crop from the menu bar. The area outside of the marquee is removed and the area inside becomes the new image. The second method uses the dedicated Crop tool that is located just below the Magic Selection Brush in the tool box. Just as with the Marquee tool, a rectangle is drawn around the section of the image that you want to retain. The selection area can be resized at any time by click-dragging any of the handles positioned in the corners of the box. To crop the image click the Tick button at the bottom of the crop marquee or double-click inside the selected area. See Step 8.

Step 7 >> Pass the photo to one of the editing spaces by selecting the option from the right-click menu.

An added beneﬁt to using the Crop tool is to not only previsualize the crop but also rotate the selection by clickdragging the mouse when it is positioned outside the box. To complete the crop click the Tick button at the bottom of the crop marquee, but this time the image is also straightened based on the amount that the selection area was rotated.

Spreading your image tones

Step 8 >> The Crop tool gives the user the ability to crop and straighten selected areas of the image.

When photographers produce their own monochrome prints they aim to spread the image tones between maximum black and white. So too should the digital image-maker ensure that their pixels are spread across the whole of the possible tonal range. In a 24-bit image (8 bits per color channel – red, green and blue), this means from a value of 0 (black) to 255 (white). Elements provides both manual and automatic techniques for adjusting tones. The Auto Contrast and Auto Levels options are both positioned under the Enhance menu. Both features will spread the tones of your image automatically, the difference being that the Auto Levels function adjusts the tones of each of the color channels individually whereas the Auto Contrast command ignores differences between Book resources at: www.adv-elements.com

Step 9 >> The Auto Levels and Auto Contrast functions spread the tones of your image automatically.

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If you want a little more control over the placement of your pixel tones then Adobe has also included the sliderbased Contrast/Brightness and Levels features used in Photoshop in their entry-level software. Both these features, plus the new Adjust Color Curves feature, take back the control for the adjustment from the program and place it squarely in the hands of the user. See Step 10. Jump to the end of the chapter for more details on manual control of tones.

THE NEXT LEVEL

the spread of the red, green and blue components. If your image has a dominant cast then using Auto Levels can sometimes neutralize this problem. The results can be unpredictable though, so if after using the feature the colors in your image are still a little wayward, undo the changes and use the Auto Contrast feature instead. See Step 9.

Step 10 >> The Levels feature provides manual control of the position of white, mid and black tones in your image.

Ridding your pictures of unwanted color casts Despite the quality of modern digital camera’s White Balance systems, images shot under mixed lighting conditions often contain strange color casts. The regularity of this problem led Adobe to include the specialized Color Cast tool (Enhance > Adjust Color > Remove Color Cast) in Elements. Simply click the eyedropper on a section of your image that is meant to be gray (an area that contains equal amounts of red, green and blue) and the program will adjust all the colors accordingly. See Step 11. This process is very easy and accurate, if you have a gray section in your picture. For those images without the convenience of this reference, the Variations feature (Enhance > Adjust Color > Variations) provides a visual ‘ring around’ guide to cast removal. See Step 12.

Step 11 >> The Color Cast tool uses an Eyedropper feature to neutralize color casts in your images.

Step 12 >> The Variations control provides a ‘ring around’ approach to cast removal.

Applying some sharpening The nature of the capture or scan process means that most digital images can proﬁt from a little careful sharpening. I say careful, because the overuse of this tool can cause image errors, or artifacts, that are very difﬁcult to remove. Elements provides several sharpening choices, most Book resources at: www.adv-elements.com automatic, and one with a degree of manual control.

THE NEXT LEVEL

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

The Auto Sharpen feature found in the Enhance menu provides automatic techniques for improving the clarity of your images. The effect is achieved by altering the contrast of adjacent pixels and pixel groups. Elements also includes the Unsharp Mask filter and the Adjust Sharpness feature, which provides the user with manual control over which pixels will be changed and how strong the effect will be. The key to using these features is to make sure that the changes made by the filter are previewed in both the thumbnail and full image at 100 percent magnification. This will help to ensure that your pictures will not be noticeably over-sharpened. See Step 13.

Step 13 >> Adjust Sharpness improves the overall appearance of sharpness in the image by increasing the contrast of adjacent pixels.

Saving your images The final step in the process is to save all your hard work. The format you choose determines a lot of the functionality of the file. If you are unsure of your needs always use the native PSD or Photoshop format. These files maintain layers and features such as editable text and saved selections, and do not lose any picture details due to compression. If space is a premium, and you want to maintain the best quality in your pictures, then you may decide to use a compressed version of TIF or Tagged Image File Format. JPEG and GIF should only be used for web work or when Step 14 >> Elements provides a range of file you need to squeeze you files down to the smallest possible formats that can be used to save your images. size. Both these formats lose image quality in the reduction process, so keep a PSD or TIF version as a Basic Elements Adjustments Workfl ow quality backup. See Step 14. Download image from camera

Import picture from scanner

Open image via Photo Browser

Tag photos (Right-click > Attach Tag) Rotate picture (Image > Rotate menu)

Basic Elements workﬂow These steps should be the ﬁrst changes and enhancements you make to new digital photographs. It is upon these basics that the rest of the book will build. So make sure that the sequence and skills included here are second nature before moving on to extending your Elements knowledge. Book resources at: www.adv-elements.com

Straighten picture (Crop or Straighten tool or Image > Rotate menu) Crop picture (Crop tool or Marquee then Image > Crop) Adjust brightness (Enhance > Adjust Brightness/Contrast menu) Alter contrast (Enhance > Adjust Lighting menu) Remove color casts (Enhance > Adjust Lighting menu) Apply sharpening (Enhance menu) Save ﬁle (File > Save As)

THE NEXT LEVEL

Take manual control of your tones >>

Though at first glance making these changes seems like a simple task, don’t be too eager to play with the Brightness/Contrast sliders. These controls though upgraded in version 6 are often too coarse for quality work. Careful manipulation of the pixels is the key to making quality images and these features don’t allow the subtlety of adjustment that is necessary to achieve good results. Instead, employ the aid of either the Levels feature (Enhance > Adjust Lighting > Levels) or the new Adjust Color Curves feature (Enhance > Adjust Color > Adjust Color Curves) when making these changes. Professional digital photographers prefer to use tools like these as they not only provide sliders to alter brightness and contrast but also show a visual representation of the spread of the pixels or preview of the image changes.

Levels adjustments >> The Levels and Adjust Color Curves features provide ﬁne manual control over the contrast and brightness of your pictures. (a) Before. (b) After. (c) The Levels adjustment used to correct contrast and brightness.

Advanced tonal control The first step in taking charge of your pixels is to become aware of where they are situated in your image and how they are distributed between black and white points. The Histogram palette (Window > Histogram) displays the same graph of your picture’s pixels as the Levels feature. Viewing the histogram can be one of the quickest ways to diagnose the source of brightness and contrast problems in your pictures. The left-hand side represents the black values, the right the white end of the spectrum and the center area the midtones (see Levels feature illustrations on page 12). As you may be already aware, in a 24-bit image (8 bits per color channel) there are a total of 256 levels of tone possible from black to white – each of these values are represented on the graph. The number of pixels in the image with a particular brightness or tone value is displayed on the graph by height. Where the graph is high there are many pixels of this tone present in the image. In contrast, low areas of the graph mean that few pixels of this tone can be found in the picture.

Knowing your images After a little while of viewing the histograms of your images you will begin to see a pattern in the way that certain styles of photographs are represented. Overexposed pictures will display a large grouping of pixels to the right end of the graph, whereas underexposure will be represented by most pixels bunched to the left. Flat images or those taken on an overcast day will show all pixels grouped around the middle tones and contrasty pictures will display many pixels at the pure white and black ends of the spectrum. These tonal problems can be fixed automatically by applying one of the standard correction features, such as Auto Contrast or Auto Levels, found in Elements. Both these commands re-map the pixels so that they sit more evenly across the whole of the tonal range of the picture. Viewing the histogram of a corrected picture will show you how the pixels have been redistributed. If you want to take more control of the process than is possible with the auto solutions, open the Levels dialog.

Using the Levels control Looking very similar to the histogram this feature allows you to interact directly with the pixels in your image. As well as a graph, the dialog contains two slider bars. The one directly beneath the graph has three triangle controls for black, midtones and white and represents the input values of the picture. The slider at the bottom of the box shows output settings and contains black and white controls only. To adjust the tones, drag the input shadow and highlight controls until they meet the first set of pixels at either end of the graph. When you click OK the pixels in the original image are redistributed using the new white and black points. Be careful though as moving the black point slider

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THE NEXT LEVEL

One of the most basic, yet critical, tasks for any digital photographer involves adjusting the contrast and brightness of their images. This action is often one of the first undertaken by novices and professionals alike when enhancing newly shot pictures. Well-executed contrast and brightness adjustments can take an ‘okay’ image and turn it into a dramatic picture.

THE NEXT LEVEL

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

beyond the first pixels in the graph will convert these tones to straight black, losing any shadow detail that was present. Similarly, dragging the white point too far towards the middle will change delicate highlight details to pure white. Moving the midtone slider will change the brightness of the middle values of the image without changing the black and white points in the image. Altering the output black and white points will flatten, or decrease, the picture’s contrast. Pro’s Tip: Hold down the Alt key whilst moving the black or white input slider and you will see a reversed version of the image showing the pixels that are being converted to black or white by the action.

Basic changes >> (a) To add contrast drag white and black input sliders inwards. (b) To reduce contrast drag white and black output sliders inwards. (c) To darken midtones drag mid input slider to the right. (d) To lighten midtones drag mid input slider to the left.

The Adjust Color Curves control The Adjust Color Curves option provides another way that you can alter brightness and contrast in your photo. Unlike the very basic Brightness/Contrast control, Adjust Color Curves provides separate controls for altering the brightness of highlights, shadows and midtones as well as a single slide for changing midtone contrast. The feature is divided into two different sections – Style and Adjust Sliders. The Styles section contains several preset adjustments. Selecting one of these entries will apply the adjustment to your photo. The After image shows the enhancement changes.

Protip for Adjust Curves usage: Holding Shift while moving the Shadows or Highlights slider lets you move on the horizontal axis instead of the vertical.

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The Adjust Sliders section contains four controls plus a curves graph that plots the tonal relationships in the picture. Whereas the Styles presets provide a one-click image adjustment, the controls contained here allow multiple, additive, fine-tuning changes. The best approach is to select a Styles preset that matches the change that you are requiring first, e.g. Lighten Shadows, and then fine-tune the results with the Adjust Sliders controls. Pressing the Reset button restores the dialog’s control to the default ‘Increase Midtones’ values.

SCANNER AND CAMERA TECHNIQUES

Scanner and Camera Techniques

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SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

here is no way to get around the fact that the quality of your ﬁnal digital pictures is dependent on how well they were captured initially. Poorly photographed or badly scanned images take their problems with them throughout the whole production process and end up as poor quality prints. One of the best ways to increase the level of your work is to ensure that you have the skills and knowledge necessary to create the best digital ﬁle possible at the time of capture. This is true for the majority of you who now shoot with a digital camera as well as those who are converting existing photographic images to digital with a scanner. To help gain this level of control let’s go back to the basics and see how factors like resolution and numbers of colours affect the quality of image capture.

The basics – resolution Most of us, no matter how new to digital photography, are aware that resolution has a direct link with picture quality. It is true that this factor, along with the numbers of colors (bit depth) saved in the ﬁle, or captured by the camera, helps determine the overall quality of the image. The rule of thumb that most new users adhere to goes something like this – the higher the resolution and the greater the bit depth the better the image will be – and to a large extent this is true. High-resolution images with lots of colors are generally better quality than those with a limited color range and fewer pixels, but to understand how integral resolution is to making great digital images we must look a little deeper.

Digital photography basics >> All digital photographs are constructed of a grid of colored pixels which when seen at a distance combine to form the appearance of a continuous color and tone picture.

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SCANNER AND CAMERA TECHNIQUES

Image capture – input resolution

The scene or print is tested, or sampled, at regular intervals and a specific color and brightness allocated for each sample area. The testing continues in a grid pattern all over the scene, gradually building a pattern of the image which is made up of discrete areas of specific color/ brightness. Each of these areas, or samples, becomes a pixel in the resultant digital file. Resolution at this capturing stage refers to the frequency that samples are made of the image. Generally this measurement is represented as the number of samples taken in a one inch space; for this reason it is sometimes called Samples Per Inch or spi. Unfortunately most scanner software does not use this terminology but prefers to refer to this setting as Dots per inch (dpi). This is a hangover from language used in the printing industry and does more to confuse than clarify the situation. If you are using a digital camera to capture your image then the resolution will be determined by the sensor, which has a specific number of CCDs set into a grid that is used to digitize the image. Scanner users, on the other hand, are able to control the sampling rate by changing the settings ‘in the scanners dialog box’. A high sampling rate will result in a higher quality image with a much greater file size. A low SPI will provide a smaller file of less quality. These facts lead a lot of new users to a situation where all images are scanned at the highest resolution possible. Do this and your hard drive will soon be completely used up. High-resolution scans require huge amounts of storage space.

Input resolution >> High input resolution (a) will produce an image with ﬁner detail than a picture with low resolution (b).

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SCANNER AND CAMERA TECHNIQUES

Computers can only work with digital ﬁles. The world as we view it, and as we capture it in silver-based photographs, is not in a digital format. Tones and colors merge gradually from one extreme to another. For the computer to be able to work with such images they must be changed from this ‘analog’ or continuous tone format to a digital one. Scanners and digital cameras make this change as part of the capturing process.

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Input resolutions should be decided on the basis of what the images ﬁnal use will be. If the image is to be printed the size of a postage stamp then there is no point scanning at a resolution that will result in a ﬁle large enough to print an A2 poster. Remember the end usage determines the scanning resolution, or to put it in a way more easily remembered, ‘Know where you are going before you start the journey’.

2.01 How many pixels do I need? Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 2.02, 2.12, 2.13, 13.07

The trick to knowing how many pixels you require is to think carefully about the end product you want to create. As an example, if you want to produce a 10 x 8 inch photographic quality print and you know that the lab you will use to output the image suggests a resolution of 250 dpi, then you have all the information to determine the number of pixels you will need to capture. Essentially the lab is saying that to produce photographic quality they need 250 pixels for every inch of the print. For the photograph to be 10 inches high then your file must contain a minimum of 2500 pixels for this dimension and to ensure the 8 inch width, you will need 2000 pixels. With this knowledge you can adjust the settings on you scanner so that you will end up with a picture file that contains the minimum pixel dimensions of 2500 x 2000. For digital camera shooters understanding this concept will not only give you an indication of the maximum print size available from your camera’s sensor, but will also allow you to accurately select the correct resolution, or more precisely the correct pixel dimension, setting on your camera for specific tasks. The table below will give you a good starting point. Chip pixel dimensions:

Chip resolution:

Print size at 200 dpi:

(1 million = 1 megapixel)

(e.g. photo print)

Image size at 72 dpi: (e.g. web use)

640 x 480 pixels

0.30 million

3.2 x 2.4 inches

8.8 x 6.6 inches 20.0 x 13.2 inches

1440 x 960 pixels

1.38 million

7.4 x 4.8 inches

1600 x 1200 pixels

1.90 million

8.0 x 6.0 inches

22.0 x 16.0 inches

2048 x 1536 pixels

3.15 million

10.2 x .7.6 inches

28.4 x 21.3 inches

2304 x 1536 pixels

3.40 million

11.5 x 7.5 inches

32.0 x 21.3 inches

2560 x 1920 pixels

4.92 million

12.8 x 9.6 inches

35.5 x 26.6 inches

2000 x 3000 pixels

6.0 million

10 x 15 inches

27.7 x 41.6 inches

2336 x 3504 pixels

8.2 million

11.6 x 17.5 inches

32.4 x 48.6 inches

2592 x 3888 pixels

10.2 million

12.9 x 19.44 inches

36 x 54 inches

Proposed use

Suggested image resolution

Screen or web use

72 dpi

Draft quality inkjet

150 dpi

Photo-quality inkjet

200-300 dpi

Photo lab output (min)

250 dpi

Photo lab output (max)

400 dpi

Offset printing (good quality)

300 dpi

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The suggested output resolution changes for different end uses. For you to accurately capture enough pixels for the end result you desire, you will need to be aware of the resolution requirements for different end products. The table to the left indicates some of the resolution requirements for different uses.

SCANNER AND CAMERA TECHNIQUES

Pro’s Tips: t Know where you are going before you start the journey – your scanner resolution should be based on the end use of the digital file. A poster will need a higher resolution initial scan, and a bigger file, than a postcard. t Balance print quality with practical file sizes – test your printer to see at what image resolution increases in print quality cease to be perceived. Make this your base image resolution and scan your files according to this setting. Once you know the image resolution needed for the printer, the final size of the print and the size of your original you can easily calculate the scanning resolution and the total pixel dimensions you need for your digital file. Use the formula in the table below to give yourself an indication of the number of pixels you need for any size print job. Pro’s Scanning Resolution Formulae 1.

Final image dimensions (pixels)

Original image dimensions (inches)

Scanning resolution (samples per inch)

3000 x 2400 pixels

10 x 8 inch print

300 samples per inch

6000 x 4000 pixels

1.5 x 1 inch (135 mm ﬁlm)

4000 samples per inch

Print size (inches)

Image dimensions (pixels)

Image resolution (pixels per inch)

15 x 12 inches

3000 x 2400 pixels

200 pixels per inch

20 x 13.33 inches

6000 x 4000 pixels

300 pixels per inch

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SCANNER AND CAMERA TECHNIQUES

Spreading the pixels >> In the example, the digital ﬁle has dimensions of 800 x 1200 pixels. Though the number of pixels remains the same, each of the prints ranges in size because of the numbers of pixels used to print each inch. (a) 16 x 24 inch printed at 50 pixels per inch (ppi). (b) 8 x 12 inch printed at 100 ppi. (c) 4 x 6 inch printed at 200 ppi. (d) 2 x 3 inch printed at 400 ppi.

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

The basics – color depth This growing understanding of how important resolution is to high quality imaging underpins the continual push by digital consumers for higher pixel output from their cameras. In the last couple of years sensor sizes have pole-vaulted from the diminutive 1.5 megapixels to the more commonplace 8.0 and even 10.0 megapixel models that now ﬁll the shelves of many photographic suppliers. The power to create truly photographic quality output up to A3 size is well within our grasp. But high resolution is only half the ‘image quality’ story. The number of colors in an image is also a factor that contributes to the overall quality of the photograph.

Discrete colors (or levels) Photographs in either print or negative (or slide) form contain a range of subtle tones and colors that blend smoothly into each other. These are referred to as ‘continuous tone images’. For instance, in a traditional black and white print it is difﬁcult to see where one shade of gray starts and another one ﬁnishes. The effect is a smooth transition from the deepest shadows through to the most delicate highlights.

Analog to digital >> In the capture process, via digital camera or scanner, a continuous tone original or scene is converted into discrete colors that can be represented by a series of numbers. (a) Analog original containing continuous tones. (b) Digital version containing discrete colors.

In contrast, a digital image is made up of discrete tones and colors. When a scene or a print is captured by a device such as a camera or scanner the continuous original is converted into a digital file. The file describes the image as a series of numbers representing these discrete colors and tones. When we scan a negative or slide, or photograph a scene, we make this conversion by sampling the picture at regular intervals. At each sample point, a specific color is chosen to represent the hue found in the original. In this way, a grid of colors is put together to form a digital version of the continuous tone original. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

8-bit versus 16-bit >> Digital photographs captured in 16-bit per channel mode contain a greater number of colors than those captured with 8 bits.

Comparing bits Each digital ﬁle you create (capture or scan) is capable of representing a speciﬁc number of colors. This capability, usually referred to as the ‘mode’ or ‘color depth’ of the picture, is expressed in terms of the number of ‘bits’. Most images these days are created in 24-bit mode. This means that each of the three color channels (red, green and blue) is capable of displaying 256 levels of color (or 8 bits) each. When the three channels are combined, a 24-bit image (8 + 8 + 8) can contain a staggering 16.7 million discrete tones/hues. This is a vast amount of colors and would be seemingly more than we could ever need, see, or print, but many modern cameras and scanners are now capable of capturing 16 bits per channel or ‘high-bit’ capture. This means that each of the three colors can have 65,536 different levels and the image itself a whooping 281,474,976 million colors (last time I counted!). But why would we need to capture so many colors?

12-bit capture Many cameras capture 12 rather than 16 bits per channel. These files contain 4096 tones per channel. as opposed to the 65,536 possible with 16-bit capture. Generally these 12-bit files are captured as raw files and when converted with the Adobe Camera Raw feature, you can choose between producing a 16- or 8-bit converted file. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

2.02 More colors equal better quality Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 2.13

Most readers would already have a vague feeling that a high-bit file is ‘better’ than a low-bit alternative, but understanding why is critical for ensuring the best quality in your own work. The main advantage is that capturing images in high-bit mode provides a larger number of colors for your camera or scanner to construct your image with. This in turn leads to better color and tone in the digital version of the continuous tone original or scene. ‘Fantastic!’ you say, ‘No more 8-bit capture for me, I’m a 16-bit fanatic from here on in’. But there is a catch (you knew there had to be). Despite the power and sophistication of Photoshop Elements the program only contains a limited range of editing options when it comes to 16-bits per channel files. Along with Raw file conversion, 16-bit support commenced in version 3.0 of the program. Previously when opening a 16-bit picture the program displayed a dialog warning that it didn’t support the high-bit mode and then asked if you wanted to change the picture to an 8-bit form.

Capture commandment >> If you want the best quality pictures always make sure that your scanner or camera captures in 16-bit per channel or 48-bit mode. On most cameras this is referred to as the ‘Tiff’ or ‘Raw’ setting. See technique 2.10 for more details on Raw ﬁles.

In these recent versions of the program the Rectangular and Elliptical Marquee and Lasso, Eyedropper, Move and Zoom tools all function in 16-bit mode. In addition, you can rotate, resize, apply auto levels, auto contrast or auto color correct, or use more manual controls such as Levels, Shadow/Highlights and Brightness/Contrast features. The Sharpen, Noise, Blur and Adjustment ﬁlter groups also work here as well. Does this mean that making enhancement changes in 16-bit mode is unworkable? No, you just need to use a different approach. Read on.

Global versus local enhancement Because of the limitations when working with a 16-bits per channel ﬁle in Elements some digital photographers break their enhancement tasks into two different sections – global and local. Global, or those changes that are applied at the beginning of the process to the whole picture. These include general brightness and contrast changes, some color correction and the application of a little sharpening. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

This separation of enhancement tasks ﬁts neatly with the way that the 16-bit support works in Photoshop Elements. Global changes can be applied to the photograph whilst it is still in 16-bit mode; the ﬁle can then be converted to 8 bits per channel (Image > Mode > 8 Bits/channel) and the local alterations applied. This is the process that the professionals have been using for years and now Elements gives you the power to follow suit.

16-bit Workﬂow Set camera or scanner to 16 bits per channel or 48-bit mode

Here are the main advantages in a nutshell:

Download or import ﬁle to the Elements’ Organizer workspace with Adobe Photo Downloader Open photo in the Adobe Camera Raw feature

2. Global editing and enhancement changes made to a high-bit ﬁle will always yield a better quality result than when the same changes are applied to a low-bit image. 3. Major enhancement of the shadow and highlight areas in a high-bit image is less likely to produce posterized tones than if the same actions were applied to a low-bit version. 4. More gradual changes and subtle variations are possible when adjusting the tones of a high-bit photograph using tools like Levels than is possible with low-bit images.

Adjust settings to 16-bit PSD ﬁle Convert and pass photo from Camera Raw to the Full Edit workspace

Perform basic cropping and orientation changes with the Crop tool Alter contrast with the Levels or Shadows/Highlights features Adjust brightness using the Levels or Shadows/Highlights features Remove color casts by adjusting Levels settings in individual color channels Apply basic sharpening using the Unsharp Mask ﬁlter Save a 16-bit archive version of the ﬁle Convert to 8 bits per channel

1. Elements can’t handle high-bit images. Not true. Previous versions of the program couldn’t handle high-bit pictures, but since Elements 3.0 the program has contained a reduced feature set that can be used with 16-bits per channel images. And even with this limitation there are enough tools available to ensure quality enhancement of your images. 2. High-bit images are too big for me to handle and store. Yes, high-bit images are twice the ﬁle size of 8-bit images and this does slow down machines with limited resources, but if this is

Dodge and burn specific picture parts Apply filter changes Add text Add image or adjustment layers Save a finished 8-bit working version of the file

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8-bit mode – Local Changes

Remove dust and scratches with Spot Healing Brush

Common high-bit misconceptions

16-bit mode – Global Changes

1. Capturing images in high-bit mode provides a larger number of colors for your camera or scanner to construct your image with. This in turn leads to better color and tone in the digital version of the continuous tone original or scene.

Set camera to Raw ﬁle format

Photograph scene

Open photo in the Standard Editor workspace

The advantages of 16-bit or high-bit capture

SCANNER AND CAMERA TECHNIQUES

Local changes are those that are more speciﬁc and are sometimes only applied to certain sections of the picture. They may include dodging and burning-in, removal of unwanted dust and scratches, the addition of some text and the application of special effects ﬁlters.

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

a concern put up with the inconvenience of a slow machine whilst you make tonal and color changes then convert to a speedier 8-bit ďŹ le for local changes. 3. I canâ&#x20AC;&#x2122;t use my favorite tools and features in high-bit mode so I donâ&#x20AC;&#x2122;t use high-bit images at all. You are losing quality in your images needlessly. Perform your global edits in 16-bit mode and then convert to 8-bit mode for the application of your favorite low-bit techniques.

Ensure quality capture and enhancement with 16-bit and Raw ďŹ les 1. Unless space is an issue capture all images in the highest color depth possible. This will help to ensure the best possible detail, tone and color in your pictures. 2. If you have a camera that can capture Raw ďŹ les then ensure that this feature is activated as well, as it provides the best quality ďŹ les to work with.

Digital shooting technique With the basics out of the way letâ&#x20AC;&#x2122;s now look at how to manipulate some of your cameraâ&#x20AC;&#x2122;s technology in order to create the best digital ďŹ les possible.

Exposure Good exposure is one of the cornerstones of great imaging. Whether it be traditional silver-based photography, or the new pixel-centered picture making, getting your exposure right will ensure that you capture the most information possible. Photographs that result from the sensor receiving too much light are said to be â&#x20AC;&#x2DC;overexposedâ&#x20AC;&#x2122;. They typically have little or no details in the highlight portions of the image and the midtone regions are far too bright. In contrast, pictures that have been captured with too little light are referred to as being â&#x20AC;&#x2DC;underexposedâ&#x20AC;&#x2122;. In these images it is the shadow areas that lose details and in this scenario the midtones are too dark. The perfect exposure will produce a picture that contains: t " HPPE TQSFBE PG UPOFT GSPN MJHIU UP EBSL t %FUBJMT JO UIF TIBEPX BSFBT BOE t %FUBJMT JO UIF IJHIMJHIU BSFBT For most shooters, exposure is something that the camera does automatically. You frame the image in the viewďŹ nder, or via the preview screen, push the button down halfway and the camera focuses and adjusts the exposure for the scene. Push the button down fully and the image is captured using the exposure settings selected by the camera. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

Over- and underexposure >> The cornerstone of all good photography is accurate exposure. (a) Overexposed images are too light and lose details in the highlights and mid tone areas. (b) Well-exposed pictures have a good distribution of tones over a range from dark to light. (c) Underexposed images have little or no shadow detail as these areas are converted to pure black.

Shadows

Midtones

SCANNER AND CAMERA TECHNIQUES

Generally speaking, letting the camera do the work produces great results, but in some circumstances where the lighting is a little tricky, the ‘auto’ exposure route can result in images that are either ‘under’ or ‘over’ exposed. It’s here that the photographer needs to ‘step in’ and make some adjustments to the exposure settings. Modern cameras have a range of features designed to override the camera’s auto exposure settings.

Highlights

Exposure control Two devices – the shutter and the aperture – control the amount of light that hits your camera’s sensor. The shutter is either an electrical or mechanical device that controls the length of time that the light falls upon the sensor. The longer the shutter is ‘open’ the more exposure the sensor will receive and, conversely, the shorter the shutter speed the less exposure is received. Shutter speeds have traditionally been measured in fractions of a second and are represented by a number sequence of halves and doubles. With some cameras, one step either way in the sequence is referred to as a change of a ‘full stop’, other modes step in 1/2 or 1/3 stops, and so multiple steps will be needed to make a full stop change in exposure. The aperture works in a similar way to the iris in your eyes. The amount of light hitting the sensor, or entering your eye, is controlled by the size of the aperture, or iris, hole. Using a large hole will transmit more light than when a small aperture is in place. Again a series of numbers represent a doubling or halving of the amount of light entering through a given aperture. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

This sequence is called F-stops and causes some confusion with new camera users as the scale equates the biggest aperture hole with the smallest F-stop number. By varying the combination of aperture and shutter speed the camera, or photographer, can adjust the amount of light entering the camera to suit the sensitivity of the sensor. In bright conditions it is normal to use a fast shutter speed coupled with a large aperture number (small hole). Conversely, in low light situations a slow shutter speed and small aperture number (large hole) would be selected.

Mechanics of exposure >> Aperture and shutter in combination control the amount of light that hits the sensor. (a) The aperture opens to allow more light into the camera and closes to reduce exposure. (b) The length of time the shutter is opened is displayed in fractions of a second. In addition to these mechanisms controlling exposure they also change the way that the photo looks. The aperture also controls the depth of ﬁeld or zone of focus in the photo and the shutter manipulates how motion or movement is recorded.

2.03 Exposure compensation Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 2.02

One of the real advantages of photographing digitally is the ability to review your efforts immediately after shooting via the built-in screen on the back of the camera. With this tool it is easy to determine the times when the auto exposure system is producing images that are not quite the perfect exposure. When this occurs you can increase or decrease the amount of light reaching the sensor by using the Exposure Compensation feature. This control effectively changes the shutter speed or aperture selected in steps of a third of an F-stop (sometimes also called EV – exposure value). Most cameras allow changes of up to plus, Book resources at: www.adv-elements.com

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A more precise way to determine over- or underexposure is to consult the histogram display of your camera. The histogram can be accessed from your camera’s playback menu and it visually graphs the spread of the pixels in the image. This feature takes the guesswork out of determining whether your image has exposure problems. A bunching of pixels to the left-hand end of the graph usually indicates underexposure and the need for more light, whereas a grouping to the right signals overexposure and requires a reduction in either the aperture or shutter speed setting.

Exposure compensation >> Many digital cameras contain a special feature that can be used to modify your exposure settings without altering the aperture or shutter speed values directly. This Exposure Compensation control allows you to increase or decrease the overall exposure of the picture.

Frame-by-frame control Apart from the absence of ﬁlm, the typical digital camera has many familiar features. Experienced shooters on the whole have no difﬁculty understanding technology such as the shutter, aperture, or ISO sensitivity as these options have their traditional counterparts, but most new digital cameras contain several often overlooked functions that are designed to help you produce the ‘ultimate images – shot by shot’. Book resources at: www.adv-elements.com

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or minus, 3 stops. In tricky lighting scenarios I generally shoot a test image, review the results, adjust my exposure compensation settings and shoot again. I continue this process of shooting and reviewing until I am satisﬁed with the exposure.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Some of these features include: t $POUSBTU DPOUSPM t 4BUVSBUJPO BEKVTUNFOU BOE t *O CVJMU 4IBSQOFTT DPOUSPM These controls are now found on all but the most basic entry-level models and provide a level of ďŹ&#x201A;exibility that was never possible in the days when â&#x20AC;&#x2DC;ďŹ lm was kingâ&#x20AC;&#x2122;.

2.04 Contrast Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic

The contrast control is one of the most useful features for the digital camera owner. When you are faced with shooting a beach, or snow scene, on a sunny day the range of brightness between the lightest and darkest areas can be extremely wide. Set to normal your cameraâ&#x20AC;&#x2122;s sensor will probably lose detail in both the highlight and shadow areas of the scene. Delicate tones will either be converted to white or black. Changing the setting to â&#x20AC;&#x2DC;less contrastâ&#x20AC;&#x2122; will increase your cameraâ&#x20AC;&#x2122;s ability to capture the extremes of the scene and preserve otherwise lost light and dark details. In the opposite scenario, sometimes your subject will not contain enough difference between shadows and highlights. This situation results in a low contrast or â&#x20AC;&#x2DC;ďŹ&#x201A;atâ&#x20AC;&#x2122; image. Typically, pictures made on an overcast winterâ&#x20AC;&#x2122;s day will fall into this category. Altering the cameraâ&#x20AC;&#x2122;s setting to â&#x20AC;&#x2DC;more contrastâ&#x20AC;&#x2122; will spread the tonal values of the scene over the whole range of the sensor so that the resultant picture will contain acceptable contrast.

In-camera contrast adjustment >> Altering the way that your camera records the contrast or the extremes of brightness in a scene can help to ensure that you capture important highlight and shadow details. (a) Less contrast setting. (b) Normal contrast setting. (c) More contrast setting.

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‘How do I know if my scene has either too much or too little contrast?’ The beauty of shooting digitally is that we can preview our image immediately. In particular check the shadow and highlight areas using the camera’s histogram feature. If the display contains pixels bunched at either end of the graph then the picture is too contrasty and will warrant a contrast change and a re-shoot. Pixels concentrated in a group in the center of the graph indicate an image that is too ﬂat and needs to be re-shot using a higher contrast setting. Pro’s Tip: Contrast correction that is applied via your favorite image editing software package is possible and often used, but it is always preferable to capture the image with the best contrast at the time of shooting. This will guarantee you are making images of the best quality.

2.05 Color saturation Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Basic

Histograms >> Mid to high range cameras usually contain a Histogram function which displays the spread of the tones in the image. This feature is very useful for determining if a picture is exposed correctly or contains too much or too little contrast. (a) Shadow tones. (b) Middle tones. (c) Highlight tones. (d) High contrast picture. (e) Low contrast picture.

The saturation, or vividness, of color within your images can either make or break them. Sometimes color is the cornerstone of a picture, providing both the focal point and the design for the whole photograph. In these circumstances, desaturated or pastel hues will only serve to weaken the strength of the picture. In contrast, strong color elements can distract from important subject matter, causing the viewer to concentrate on the color rather than the subject of the picture. Digital shooters can take more control of the color content of their images by selecting just how dominant or vivid the hues will be in their pictures. For shots that rely on their color the vividness can be increased; for those that work more effectively with subdued hues, the color strength can be reduced by way of the camera’s saturation control. Again, the effectiveness or suitability of each setting should be previewed and if necessary, several images with different color settings can be captured and the ﬁnal choice made later. Though not as critical for retention of details as the contrast settings, it is important to capture as much color information as possible when shooting. This does not mean that you shoot all

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

subjects with maximum saturation; it is just a reminder that if color is important, consider changing the saturation settings to suit your needs and your picture. Pro’s Tip: Always shoot in Color mode even if the photograph is to be used as a black and white. The picture can easily be converted to black and white in your image editing program at any time and you have the advantage of a color version if ever you need it.

In-camera saturation adjustment >> Using the saturation control in your camera you can alter the strength of the colors in your pictures. (a) Black and white. (b) Minimum saturation setting. (c) Normal saturation setting. (d) Maximum saturation setting.

2.06 Image sharpness Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

The digital equivalent of ﬁlm is a grid of sensors situated behind the lens in your camera. Each of these sensors records the light and color of the image that is focused upon it. In doing so a digital version of the scene is constructed. Despite the high resolution of modern sensors and specially developed lenses, the ﬁnal image contains a degree of softness that is the direct result of this capturing process. To help create crisper images the camera manufacturers include in-camera sharpening as one of their auto enhancement tools. Designed to improve the appearance of sharpness across the picture these features enhance the edge of objects by increasing the difference in tones between adjacent pixels. Sound confusing? Just remember that the act of sharpening changes the pixels in your image and just like the other image enhancement tools, too much sharpening can destroy your picture. How do I know what settings to use? There are two schools of thought for deciding when and where to apply sharpening to your images. Some shooters apply a little sharpening in-camera, using either the minimum or auto setting. Others prefer to leave their images untouched and will use the sharpening tools built into their favorite image editing program to enhance their pictures. I lean towards the second option, as it offers me the greatest control over the sharpening effects and where they occur in my photographs.

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In-camera sharpness adjustment >> Some photographers regularly apply in-camera sharpening to their pictures, but I prefer to leave this task until the images are loaded into Elements where I have more control. (a) No sharpening applied. (b) Normal sharpening setting. (c) Maximum sharpening setting.

Pro’s Tip: When sharpening in your editing program always view the image to be sharpened at 100% so that you can see the effects of the ﬁlter at the magniﬁcation that the picture will be used at.

2.07 White balance control Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

Our eyes are extremely complex and sophisticated imaging devices. Without us even being aware they adjust automatically to changes in light color and level. For instance, when we view a piece of white paper outside on a cloudy day, indoors under a household bulb or at work with ﬂuorescent lights, the paper appears white. Without realizing it our eyes have adapted to each different light source. Unfortunately digital sensors, including those in our cameras, are not as clever. If I photographed the piece of paper under the same lighting conditions, the pictures would all display a different color cast. Under ﬂuorescent lights the paper would appear green, lit by the household bulb (incandescent) it would look yellow and when photographed outside it would be a little blue. This situation occurs because camera sensors are designed to record images without casts in daylight only. As the color balance of the light for our three examples is different to daylight, that is, some parts of the spectrum are stronger and more dominant than others, the pictures record with a cast. The color of the light source illuminating the subject in your picture determines the cast that will result. Book resources at: www.adv-elements.com

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When is white light not white? >> The color of white light varies from source to source. Our eyes adjust to these changes but the camera will record the differences as a color cast in your pictures. The White Balance feature is designed to rid your images of these casts. (a) Candle. (b) Household bulb. (c) Daylight. (d) Flash. (e) Cloud. (f) Skylight (no sun). (g) White ďŹ&#x201A;uorescent. (h) â&#x20AC;&#x2DC;Daylight Whiteâ&#x20AC;&#x2122; ďŹ&#x201A;uorescent. (i) â&#x20AC;&#x2DC;Daylightâ&#x20AC;&#x2122; ďŹ&#x201A;uorescent.

Traditional shooters have been aware of this problem for years and because of the limitations of ďŹ lm, most photographers carried a range of color conversion ďŹ lters to help change the light source to suit the ďŹ lm. Digital camera producers, on the other hand, are addressing the problem by including White Balance functions in their designs. These features adjust the captured image to suit the lighting conditions it was photographed under. The most basic models usually provide automatic white balancing, but it is when you start using some of the more sophisticated models that the choices for white balance correction can become a little confusing. Most modern digital cameras provide a vast array of options that should have you shooting â&#x20AC;&#x2DC;castfreeâ&#x20AC;&#x2122; in any lighting conditions. The selections include: t "VUP t 'JOF PS %BZMJHIU t *ODBOEFTDFOU t 'MVPSFTDFOU t $MPVEZ t 4QFFE MJHIU PS 'MBTI BOE t 8IJUF #BMBODF 1SFTFU Book resources at: www.adv-elements.com

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Color casts from different light sources >> Camera sensors are balanced for daylight. Shooting pictures under nondaylight light sources will result in the color casts we see above. (a) Daylight. (b) Fluorescent. (c) Household bulb or incandescent. (d) Flash. (e) Cloudy day.

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Auto white balance >> The modern digital camera has a highly developed auto white balance system. It performs well under most lighting scenarios and should be your ﬁrst choice when shooting under difﬁcult conditions.

Auto white balance The Auto function assesses the color of the light in the general environment and attempts to neutralize the mid tones of the image. As with most ‘auto’ camera features, this setting works well for the majority of ‘normal’ scenarios. The feature does a great job with scenes that contain a range of colors and tones, but you may strike some difficulty with subjects that are predominantly one color, or are lit from behind. Also keep in mind that some subjects, such as cream lace, are meant to have a slight color shift and the use of the Auto feature in this case would remove the subtle hue of the original. Apart from these exceptions most cameras’ Auto features produce great results that require little or no post-shooting color correction work. So it’s my suggestion that if in doubt try the Auto setting first. Check the results on the preview screen of the camera and if there is a color cast still present then move on to some more specific white balance options.

Light source white balance settings The Daylight (Fine), Incandescent, Fluorescent, Cloudy and Flash (Speed light) options are designed for each of these light types. The manufacturers have examined the color from a variety of each of these sources, averaged the results and produced a white balance setting to suit. If you know the type of lighting that your subject is being lit by, then selecting a speciﬁc white balance setting is a good move. Again, for the majority of circumstances these options provide great results, but for those times when the source you are using differs from the ‘norm’, companies like Nikon have included a ﬁne-tuning adjustment. With the light source set the command dial is turned to adjust the color settings. Book resources at: www.adv-elements.com

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For Daylight, Incandescent, Cloudy and Flash options selecting positive values will increase the amount of blue in the image. Alternatively, negative numbers will increase the red content. If you have selected Fluorescent as your light source then the Fine-tuning feature will allow you to select one of three different white balance settings. FL1 is suitable for tubes marked ‘white’, FL2 should be used with ‘Daylight White’ ﬂuorescents and FL3 is for those labelled ‘Daylight’.

2.08 Applying ﬁne-tuning automatically Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 2.07

If you are like me and find manually fine-tuning hampers the flow of your photography – shoot, stop, switch to menu, fine-tune white balance, shoot again, stop, switch to menu … you get the idea – then check to see if you camera has an Auto White Balance Bracketing option. This feature automatically shoots a series of three images starting with the standard white balance settings and then adding a little blue and finally a little red. I find white balance bracketing particularly useful when shooting difficult subjects like the hand-blown colored glass in the example. As three separate images are saved I can make decisions about the most appropriate color by previewing them on my workstation’s large color calibrated monitor later rather than the small preview screen on the back of my camera in the field.

Auto ﬁne-tuning >> The White Balance Bracketing option automatically captures several pictures with slightly different color settings. (a) Standard setting. (b) + Red. (c) + Blue.

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Fine-tuning white balance >> With some models white balance settings can be ﬁnetuned to suit speciﬁc lighting scenarios. With this camera plus values add blue to the picture and negative values add red.

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Preset white balance options >> You can obtain a precise white balance setting under mixed lighting conditions by using the Preset or Customize option in your camera. When the feature is activated the camera will analyse a white (or mid gray) card in the scene, neutralize any casts that are present and set the white balance according to the analysis. The images now photographed with this preset white balance setting will be cast-free.

2.09 Customizing your white balance Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Related techniques â&#x20AC;&#x201C; 2.07, 2.08

In a perfect world the scene you want to shoot will always be lit by a single source. In reality most scenarios are illuminated by a variety of different colored lights. For instance, what seems like a simple portrait taken in your lounge could have the subject partially lit by the incandescent lampstand in the corner, the ďŹ&#x201A;uorescent tube on the dining room ceiling and the daylight coming through the windows. Because of the mixed light sources a speciďŹ c white balance setting is not appropriate. Instead, you should use the customize, or preset, white balance option on your camera. Based on video technology, this feature works by measuring the lightâ&#x20AC;&#x2122;s combined color as it falls onto a piece of white paper. The camera then compares this reading with a reference white swatch in its memory and designs a white balance setting speciďŹ cally for your shooting scenario. With the process complete you are now set to shoot your portrait secure in the knowledge that you will produce cast-free images. Always remember though, because this is a customized process if you decide to turn a light off, or move your subject to another position in the room, then you will need to remeasure and reset your white balance. This way of working is by far the most accurate way to correct the color casts resulting from mixed lighting sources in your pictures. It takes into account changes in color that result from: t -JHIU SFnFDUJOH PGG CSJHIUMZ QBJOUFE XBMMT t #VMCT HFUUJOH PMEFS t .JYFE MJHIU TPVSDFT t -JHIU TUSFBNJOH UISPVHI DPMPSFE HMBTT BOE t 4IPPUJOH UISPVHI DPMPSFE mMUFST Book resources at: www.adv-elements.com

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Related techniques – 2.02

More and more medium to high end cameras are being released with the added feature of being able to shoot and save your pictures in Raw format. For most users this option on the camera’s file menu has no real significance, but there are a growing number of photographers who having tried the new file type vow never to go back to using any other format. They boast of the extra quality and control that is achievable when using Raw for their image making and probably most impressive of all often refer to images in this format as being the closest thing to a digital ‘negative’ that we have yet seen. But why all this talk about Raw? What does the term actually mean and how can it help me take better pictures? Raw files >> Unlike TIFF and JPEG formats, Raw files contain the unprocessed image and shooting data. In many cameras the visual information is laid in the Bayer pattern of the original sensor.

Back to the beginning To start to understand the importance of Raw formats we need to go back to the beginning of the capture process. All single shot digital cameras (except those using the Foveon chip) contain a sensor that is made up of a grid of light-sensitive sites. Each site responds to the amount of light that hits its surface. By recording and analysing each of these responses a tone is attributed to each sensor site in the grid. In this way a digital picture can be created from the range of scene brightnesses that are focused through the lens onto the sensor’s surface. Fantastic though this is, this process only results in a monochrome (black, white and gray) picture as the CCD or CMOS sensors by themselves cannot record the color of the light, only the amount. To produce a digital color photograph a small filter is added to each of the sensors. In most cameras these filters are a mixture of the three primary colors red, green and blue and are laid out in a special design called a Bayer pattern. It contains 25% red filters, 25% blue and 50% green with the high percentage of green present in order to simulate the human eye’s sensitivity to this part of the visible spectrum. In their raw, or unprocessed, format the output from these sensors is made up of a grid of red, green and blue patches (pixels) of varying tones. And yes this does mean that in any individual picture only 25% of the sensor sites are actually capturing information about the red or blue objects in the scene. Book resources at: www.adv-elements.com

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2.10 Shooting Raw for ultimate control

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Interpolated color I hear you saying ‘But the images that I download from my camera are not split into discrete RGB colors’. This is true. What emerges from the camera is a full color picture which contains 100% red, 100% blue and 100% green pixels. This occurs because as an integral part of the capture process the raw RGB data that comes from the sensor is interpolated to create a full color image. Using special algorithms, the extra detail for a non-red site, for instance, is created using the information from the surrounding red, green and blue sites. This process is called interpolation and though it seems like a lot of ‘smoke and mirrors’ it works extremely well on most cameras. When you opt to save your images in JPEG or TIFF formats this capture and interpolation process happens internally in the camera each time you push the shutter button. In addition your camera will also reduce the number of colors and tones from the 16-bit color depth that was captured to the 8 bits that are stored in the ﬁle. Selecting a Raw format stops the camera from processing the color-separated (primary) data from the sensor and reducing the image’s bit depth, and saves the picture in this unprocessed format. This means that the full description of what the camera ‘saw’ is saved in the image ﬁle and is available to you for use in the production of quality images.

Raw images >> The image stored in a Raw ﬁle is based upon the base data that comes directly from the sensor and needs to be interpolated to create the full color digital ﬁle we normally associate with camera output.

DIY Raw processing Sounds great, doesn’t it? All the quality of an information-rich image file to play with, but what is the catch? Well, Raw files have to be processed before they can be used in a standard image editing application. To access the full power of these digital negatives you will need to employ a special dedicated Raw editor. Photoshop Elements 3.0 was the first version of the program to have such an editor built into the program. Called Adobe Camera Raw this feature is designed Book resources at: www.adv-elements.com

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Adobe Camera Raw also provides access to several image characteristics that would otherwise be locked into the ﬁle format. Variables such as color depth, White Balance mode, image sharpness and tonal compensation (contrast and brightness) can all be accessed, edited and enhanced as a part of the conversion process. Performing this type of editing on the Raw data provides a better and higher quality result than attempting these changes after the ﬁle has been processed and saved in a non-Raw format such as TIFF or JPEG.

So what is in a Raw file? To help consolidate these ideas in your mind try thinking of a Raw file as having three distinct parts: Camera Data, usually called the EXIF or metadata, includes things such as camera model, shutter speed and aperture details, most of which cannot be changed. Image Data which, though recorded by the camera, can be changed in the Elements Raw editor and the settings chosen here directly affect how the picture will be processed. Changeable options include color depth, white balance, saturation, distribution of image tones and application of sharpness. The Image itself. This is the data drawn directly from the sensor in your camera in a non-interpolated form. For most Raw-enabled cameras, this data is supplied with a 12-, 14- or 16bits per channel color depth providing substantially more colors and tones to play with when editing and enhancing than found in a standard 8-bits per channel camera file.

Raw files make-up >> The Raw file is composed of three separate sections: Camera Data, Image Data and the Image itself. By keeping these components separate it is possible to edit variables like white balance and color mode which are usually a fixed part of the file format.

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specifically to allow you to take the unprocessed Raw data directly from your camera’s sensor and convert it into a usable image file format. Chapter 3 is dedicated to the processing of raw files using Photoshop Elements.

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Raw processing in action When you open a Raw ﬁle in Elements 6 you are presented with the Adobe Camera Raw dialog containing a full color interpolated preview of the sensor data. Using a variety of menu options, dialogs and image tools you will be able to interactively adjust image data factors such as tonal distribution and color saturation. Many of these changes can be made with familiar slider controlled editing tools normally found in features like Levels and the Shadows/Highlights control. The results of your editing can be reviewed immediately via the live preview image and associated histogram graph. Zoom, Move, White Balance tool, Crop, Straighten, Red Eye Removal tools and Preferences

Highlight clipping warning

Shadow clipping warning

Basic & Detail tabs

Clipping warnings

Histogram Settings selections White balance preset menu Color temperature and tint

Rotate buttons

Exposure control Highlight Recovery Fill Light control Blacks control Brightness control Contrast control Clarity control Vibrance control Saturation control

Zoom level

Color depth

Preview of conversion Sharpening amount Radius control

Adobe Camera Raw dialog >> When you open a Raw file in Elements the Adobe Camera Raw editor is activated providing you with a range of sophisticated controls for the enhancement and conversion of your Raw files. After making your changes, you click Open, the plug-in closes and the converted file is placed into the Elements workspace. (a) Basic tab options. (b) Detail Tab options.

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Detail control Masking control

Luminance noise control Color noise control

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Capture workflow >> Selecting JPEG or TIFF as your picture’s file format means that the image processing is handled by the camera. In contrast choosing the Raw format removes this task from the camera and places it firmly with you and your computer. Working this way means that you have a say in decisions about white balance, contrast, brightness, sharpness and color mode.

After these general image editing steps have taken place you can apply some enhancement changes such as filtering for sharpness, removing color noise and applying some smoothing. The final phase of the process involves selecting the color depth and image orientation. Clicking the Open button sets the program into action applying your changes to the Raw file, whilst at the same time interpolating the Bayer data to create a full color image and then opening the processed file into the full Elements Full Edit workspace.

The Raw advantage The real advantages of editing and enhancing at the Raw stage are that these changes are made to the file at the same time as the primary image data is being converted (interpolated) to the full color picture. Editing after the file is processed (saved by the camera in 8-bits per channel versions of the JPEG and TIFF format) means that you will be applying the changes to a picture with fewer tones and colors. A second bonus for the dedicated Raw shooter is that actions like switching from the white balance option selected when shooting to another choice when processing are performed without any image loss. This is not the case once the file has been processed with the incorrect white balance setting, as anyone who has inadvertently left the tungsten setting switched on whilst shooting in daylight can tell you. For a more in-depth look at raw processing steps in Photoshop Elements go to Chapter 3. Book resources at: www.adv-elements.com

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2.11 Shooting workﬂows Having an understanding of all these camera techniques is one thing but putting them together when you are out shooting is another. To capture the most detail and in the best quality that your camera offers is a multi-step process. The following table summarizes the steps involved in three different approaches to capturing images using the techniques discussed above. The highest quality is obtained by shooting with a Raw ﬁle which is then enhanced using a dedicated editor. If your camera doesn’t contain Raw capabilities then the next best option is to shoot TIFF and make your adjustments in Elements. If neither option is available then using ‘best quality’ JPEG will give good results.

Recommended Digital Camera Workﬂow Select highest resolution Pick best color depth (16 bits per channel or 48-bit overall)

Before Shooting

Select ﬁle format – JPEG

Select ﬁle format – TIFF

Select ﬁle format – Raw

Choose ﬁnest quality

No compression

(least compression)

Set Color mode (sRGB for web work, AdobeRGB for print work)

Set Saturation Set White balance (Either for the dominant light source or using the Customize option)

Arrange composition Adjust focus

During Shooting

(Check Depth of Field)

Set exposure (Check Histogram)

Adjust Highlight and Shadow

(Elements)

(Adobe Camera Raw plug-in)

After Shooting

Image Quality

Alter contrast

(Elements)

(Adobe Camera Raw plug-in)

Remove color casts

(Elements)

(Adobe Camera Raw plug-in)

Apply some sharpening

(Elements)

(Adobe Camera Raw plug-in)

Save processed ﬁle

(Elements)

Good

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Better

Best

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Film and print scanners It was not too long ago that an activity like scanning was the sole responsibility of the repro house. The photographer’s job was fi nished the moment that the images were placed on the art director’s desk. But as we all know, the digital revolution has changed things for ever, and scanning is one place where things will never be the same. Desktop scanners that are capable of high-resolution color output are now so cheap that some companies will throw them in as ‘freebies’ when you purchase a complete computer system. The proliferation of these devices has led to a large proportion of the photographic community now having the means to change their prints, negatives or slides into digital fi les. But as all photographers know, having the equipment is only the fi rst step to making good images. For the most part, scanners can be divided into three distinct varieties – fi lm, print and the more recent hybrid or combination scanner. Dedicated film – This device is set up specifically for negative or slide capture and is usually restricted to a single format (135 mm/120 mm/5 x 4 inch). The hardware is not capable of reflective scanning. If your business involves the repeated capture of images of the one fi lm type, a dedicated scanner is a good investment. Dedicated print – The scanners in this category are the most affordable and easily obtainable of the three types. If you can’t afford a digital camera of the quality that you desire and you

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Scanners >> The most popular scanners can be divided into two distinct groups. (a) Dedicated film scanners that are designed to record digital files from transparent originals such as negatives and slides. (b) Reflective scanners which are used to convert prints to digital files. Some of the models in this group have transparency attachments which provide the extra ability to scan slides and negatives as well.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

have loads of prints in boxes lying around the house then spending a couple of hundred dollars here will have you enhancing high quality digital versions of your pictures in no time. Hybrid – These scanners are capable of both reflective and transmission scanning. This means that the one device can capture both film and print images. Starting life as flatbeds with added transparency adapters, these scanners have developed into multi-function devices that are capable of producing quality files from both types of originals.

2.12 Scanning resolution – ‘Know where you are going before you start the journey’ Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 2.01

Just as is the case with camera-based capture, the quality of the digital picture that results from our scanning activities is based primarily on resolution and color depth. It is critical that these two factors are carefully considered before any scanning capture takes place. Scanning resolution, as opposed to image or printing resolution, is determined by the number of times per inch that the scanner will sample your image. The number of pixels generated by a digital camera has an upper limit that is fixed by the number of sensors in the camera. This is not the case for scanner capture. By altering the number of samples taken for each inch of the original print or negative you can change the total number of pixels created in the digital file. This figure will affect both the ‘enlargement’ potential of the final scan and its file size. The general rule is the higher the resolution the bigger the file and the bigger the printed size possible (before seeing pixel blocks or digital grain). Scanning resolution (samples per inch)

4000

Image size to be scanned 35 mm ﬁlm frame (24 mm x 36 mm)

Output size

File size

(pixels)

(inches for print @ 200 dpi)

(Mb)

4000 x 6000

20 x 30

72.00

2900

35 mm

2900 x 4350

14.5 x 21.75

37.80

1200

35 mm

1200 x 1800

6x9

6.40

600

35 mm

600 x 900

3 x 4.5

1.62

400

5 x 4 inch print

2000 x 1600

10 x 8

9.60

1000

5 x 4 inch print

5000 x 4000

25 x 20

60.00

400

10 x 8 inch print

4000 x 3200

20 x 16

38.40

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SCANNER AND CAMERA TECHNIQUES

Some scanning software will give you an indication of resolution, ﬁle size and print size as part of the dialog panel but for those of you without this facility use the table on page 42 as a rough guide.

2.13 Color depth Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Related techniques – 2.02

As we have seen already color depth refers to the number of possible colors that make up the digital file upon the completion of scanning. If you have the choice always select 16-bit scanning mode (sometimes called 48bit – 16 bits for red + 16 bits for green + 16 bits for blue) instead of 8-bit as this provides you with the opportunity to capture as much information from your photographic original as possible. Remember this is true even if you intend to convert these files to 8-bit immediately upon opening. The more accurately the image is scanned in the first place the better quality the down sampled file will be after the conversion has been made.

Scan in 16-bit mode >> To capture the best detail, colour and tone always scan in 16-bit mode.

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SCANNER AND CAMERA TECHNIQUES

Scanning resolution >> Adjusting the resolution that you scan at will directly affect the pixel dimensions of your final file. High scanning resolution will create more pixels in the files which translates into bigger prints.

Does this mean that we always scan at the highest resolution possible? The intelligent answer is NO! The best approach is to balance your scanning settings with your printing needs. If you are working on a design for a postage stamp you will need less pixels to play with than if you want your masterpiece in poster format. For this reason it is important to consciously set your scanning resolution keeping in mind your required output size. See section 2.01 for more details about resolution.

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

2.14 Multi-sample Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate

Scanners in the mid to high end range often contain another feature that is designed to increase the quality of digital capture, especially in the darkest parts of the negative or print. Called Multi-Sample Scanning, it is a process where the image is sampled or scanned several times and the results averaged. This approach is particularly helpful when the scanner is trying to penetrate the shadow areas of a print or the highlight parts of a negative. It is in these parts of the picture that a single pass scan will most likely provide a ‘noisy’ result. You can reduce this noise by making several scans of the same Multi-sample scan >> Some scanners offer the area and then averaging the result. The theory is that the level of option of ‘multi-scanning’ noise reduction is directly proportional to the number of samples your film original. Select this setting for the best to be averaged. Therefore machines that offer a multi-sample rate overall capture of difficult of ‘16x’ will produce better results than those that only contain a negatives or slides, but be warned – using this feature ‘4x’ version. The down side to the technology is that all this extra dramatically increases your scanning time. scanning and averaging does take time. For instance the Minolta Dimage Dual III set to 8x Multi-Sample can take up to 14 times longer to make a high-resolution, high-bit scan of a 35 mm negative. For most well-exposed and processed negatives or prints there will be little extra quality to gain from this procedure, but for those troublesome images that seem to have areas of dark impenetrable detail using multisample will definitely produce a better overall result.

Highlight and shadow adjustment >> Using the Levels or Curves feature in your scanner driver adjusts the capture to ensure that delicate highlight and shadow details are maintained and tones are well spread.

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SCANNER AND CAMERA TECHNIQUES

Contrast changes >> Flat pictures can be corrected at scanning time by adjusting black and white using the Brightness or Contrast tools in the scanner driver.

2.15 Highlight and shadow capture Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

With resolution and color depth set we can now scan the image – well almost! Just as exposure is critical to making a good photograph, careful exposure is extremely important for achieving a good scan. All but the most basic scanners allow some adjustment in this respect. Preview images are supplied to help judge exposure and contrast, but be wary of making all your decisions based on a visual assessment of these often small and pixelated images. If you inadvertently make an image too contrasty then you will lose shadow and highlight detail as a result. Similarly, a scan that proves to be too light or dark will also have failed to capture important information from your print or ﬁlm original. It is much better to adjust the contrast, sometimes called gamma, and exposure settings of your scan based on more objective information. For this reason a lot of desktop scanner companies provide a method of assessing what is the darkest, and lightest, part of the image to be scanned. Often looking like the Info palette in Elements these features give you the opportunity to move Book resources at: www.adv-elements.com

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

around the preview image pegging the highlight and shadow areas. Other scanner drivers include their own version of the histogram, which you can use to diagnose and correct brightness and contrast problems. With these tools you can set the black and white points of the image to ensure that no details are lost in the scanning process.

SCANNER AND CAMERA TECHNIQUES

Color cast correction >> Color casts can be removed from scanned originals using the slider controls found in the scanner driver.

For those readers whose scanning software doesn’t contain this option, try to keep in mind that it is better to make a slightly ﬂat scan than risk losing detail by adjusting the settings so that the results are too contrasty. The contrast can be altered later when you edit the picture in Elements.

2.16 Color cast correction Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Intermediate

Despite our best abilities some photographs are captured with a dominant color cast that pervades the whole picture. Using the scanner driver’s own color adjustment feature you can neutralize this tint at the time of capture. Frequently the scanner software provides a before and after thumbnail of your color adjustments so that you can preview your changes before committing the ﬁnal settings. Now when the picture is scanned the color balance is adjusted and the color cast removed.

Removing casts with histograms >> In the absence of dedicated cast removal sliders careful adjustment of the histogram for each channel can achieve the same results.

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It is true that this process can be handled by Elements using the Color Cast or Color Variations features but, as we have already seen with the camera techniques above, the best quality images are generated when adjustments such as these are made at the capture stage.

SCANNER AND CAMERA TECHNIQUES

2.17 Dust and scratches Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Basic

One of the hidden enemies of quality scans is dust. Though the presence of dust won’t reduce the ability of the scanner to record highlight and shadow detail accurately it does decrease the overall quality of the ﬁle because the affected area must be retouched later in Elements. No matter how proﬁcent the retouching is, the ‘rebuilt’ section of the picture that is created to cover the dust mark will never be the same as the detail that existed in the original negative, slide or print. More important, especially for the photographer with hundreds of scans to complete, is the massive amount of time needed to retouch these dusty areas. Some scanner models will include features designed to remove dust (and scratches) automatically from the picture during the scanning process. This technology when applied carefully can produce truly amazing results. One example is the Digital ICE technology produced by Applied Science Fiction (www.asf.com). Unlike post-capture processing where the dust mark is covered over using samples

Auto dust removal >> Features like ASF’s Digital ICE can remove dust and scratch marks automatically at the time of scanning. (a) Before Digital ICE. (b) After Digital ICE.

of other picture detail that surrounds the area, ICE isolates the marks during the scanning process and then proceeds to erase the defects from the picture. As the process is directly linked to the scanning hardware the Digital ICE technology cannot be applied to a dust affected image after it has been captured. If you are considering buying a scanner then it is worth considering a make and model that incorporates the ASF Digital ICE feature. It’s true that the defect detecting and erasing processes do add to the overall scanning time, but the retouching time saved more than makes up for it. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

2.18 Noise Reduction technologies Suitable for Elements – 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

As part of the process of scanning an image, visual errors are introduced into the ﬁle that were not part of the original. This is true to varying degrees for both entry level and high end scanners. The most noticeable of these errors is called noise and usually shows up in shadow or highlight areas of the picture as brightly colored random pixels or speckles. Image noise can be caused by a variety of factors including high speed ﬁlm grain (high ISO), under- or overexposed negatives or slides, lighting conditions with brightness extremes, and image enlargement, as well as the CCD sensor itself. At worst, high levels of noise within a picture cause the image to appear unsharp and less detailed and have the potential to distract a viewer’s attention away from the content of the image. To help correct or, more accurately, minimize the impact of noise in our digital photographs, scanner manufacturers like Kodak, Minolta, Nikon and Umax have banded together with software producer Applied Science Fiction(www.asf.com) to include ASF’s Digital GEM product in Scanners are not the only capture devices their scanning software. GEM reduces image noise and grain during the that can introduce noise into a digital photograph. The sensors in cameras can scanning process and should be used when standard scanner settings suffer from the same problems as those produce noisy results. found in scanners.

Cameras and noise

Generally, noise is at its worst in photographs taken with high ISO (equivalent) settings or when the shutter speed is longer than one second. To help remove the noise in camera-captured pictures ASF also produces a plug-in version of their GEM software that can be activated via the Filter menu in Elements. This version of the software provides a little more control than that provided as part of the scanner driver as it allows separate adjustments for highlight and shadow noise as well as a slider control to alter the sharpness of the picture. Alternatively, Elements versions 6 contains the Reduce Noise ﬁlter (Editor: Filter > Noise > Reduce Noise). As with the GEM plug-in the ﬁlter contains several sliders that help balance noise removal and overall sharpness of the processed picture.

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Removing noise >> Using a technology such as ASF’s Digital GEM feature whilst scanning will reduce the appearance of grain in your picture whilst maintaining the sharpness and clarity of the photograph. (a) Noise before Digital GEM. (b) Noise after Digital GEM. (c) Elements’ new Reduce Noise ﬁlter.

SCANNER AND CAMERA TECHNIQUES

Re-creation of color >> ASF’s Digital ROC feature re-creates the color lost in original pictures due to fading or incorrect color balance at the time of shooting. (a) Before and (b) after color regeneration.

2.19 Color regeneration features Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

The last feature in the Applied Science Fiction trinity of scanning products is Digital ROC. Starting life as a feature designed speciﬁcally for use in the restoration of faded negatives or prints, many scanner operators now regularly leave the ROC option turned on for their nonrestoration jobs as well. It provides a fast and effective way to automatically adjust the scanned image to account for over- and underexposure, color casts and, of course, fading. The feature analyses the data from the blue, green and red layers, identifying areas of loss and carefully recreating density and detail. ROC can also be used to restore density to faded black and white prints or negatives if the original is scanned in RGB mode initially. The product is available as a plug-in for Elements or as part of your scanner software. Most scanners that included ICE and GEM also contain the ROC feature as well. The plugin offers more control over the color regeneration process by providing slider adjustments for the red–cyan, green– magenta and blue–yellow tints.

Digital ROC for cameras >> The ROC and GEM components of the Digital ICE suite are also available as plug-ins for Photoshop Elements, providing grain reduction and color balancing options for camera-based images.

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SCANNER AND CAMERA TECHNIQUES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Recommended Scanning Workﬂow Select resolution to suit print needs (samples per inch)

Pick best color depth (16-bit per channel or 48-bit overall)

Before Scanning

Set Color mode (sRGB for web work, AdobeRGB for print work)

Set media type (reﬂection – print or transmission – negative, slide)

Set original type (negative, slide, print)

Flip or rotate (if necessary)

Crop out unwanted detail (if necessary)

Adjust focus (Manual or Auto)

Set exposure (Check Histogram)

After Preview Scan

Remove color cast (if necessary)

Turn off Dust and Scratch Removal feature

Turn on Dust and Scratch Removal feature

Turn off Color Restoration feature

Turn on Color Restoration feature

Set Single Sample mode

Set Multi-Sample mode

(if necessary)

(Single Pass)

Adjust Highlight and Shadow Alter contrast After Scanning in Elements

Remove color casts Apply some sharpening Save processed ﬁle

Image Quality

Good

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Best

2.20 Scanning workflow Making sure that your negatives/ prints are clean before scanning can save a lot of time spent removing marks from the picture later. Use a soft cloth or a blower brush to remove surface particles before placing the film strip into the holder or the print on the platen. Don’t forget to clean the glass of the scanner as well. Check with your scanner manual to see which way the film should be placed in the holder. Inserting the film the wrong way round will mean that any writing in the picture will be back to front. Place the film in the holder ensuring the strip aligns with holder edges. Insert the film holder into the scanner. For flatbed scanners, place the photograph face down on the glass surface making sure that the edges are parallel with the scanner’s edge. Start the scanner software. You can do this from inside Elements. Simply select the scanner name from the Import (Editor: File > Import) menu. This will open the software that controls the scanner. Some scanners are supplied with a stand-alone version of this software that you can access from your program’s menu without having to open an editing package first.

SCANNER AND CAMERA TECHNIQUES

Use the guide below to help diagnose and solve shooting problems.

1. Focus not on main subject Problem: The main subject in the image is not sharply focused. Cause: This is usually caused by not having the auto focus area on the main subject at the time of shooting. Solution: If your subject is off to one side of the frame make sure that you lock focus (pressing the shutter button down halfway) on this point before re-composing and releasing the shutter button.

2. Picture too light Problem: The photograph appears washed out or too light with no detail in the light areas of the print. Cause: This is caused by too much light entering the camera causing the overexposure. Solution: You can resolve this problem by adjusting the camera’s exposure compensation control so that it automatically reduces the overall exposure by one stop. Shoot again and check exposure. If still overexposed, change the compensation to two stops. Continue this process until the exposure is acceptable.

3. Picture too dark Problem: The photograph appears muddy or too dark with no detail in the shadow areas of the print. Cause: Again this is a problem of exposure. This time not enough light has entered the camera. Solution: Adjust the exposure compensation control to add more light or alternatively use a ﬂash to help light your subject.

4. Subject too blurry Problem: The main subject, or the whole picture, appears blurry and unsharp. Cause: When images appear blurry it is usually the result of the subject, or the photographer, moving during a long exposure. Solution: Use a tripod to reduce the risk of camera shake and try photographing the subject at a point in the activity when there is less movement.

5. Flash off glass Problem: This problem results from the flash bouncing straight back from the glass into the lens of the camera. Cause: The flash travels directly from your camera hitting the glass and bouncing directly back into the lens. Solution: Using available light rather than the flash is one solution. Another is to move a little to one side so that the flash angles off the glass surface away from the camera. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

Fixing common shooting problems

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

SCANNER AND CAMERA TECHNIQUES

Adjusting for backlighting >> The camera’s exposure system can be easily fooled when there is a source of bright light in the photo and the subject is in shadows. Here the portrait sitter is a silhouette because the camera is basing the exposure on the light coming from the window. To correct this situation: 1) Move the subject so that they are no longer framed by the window, or 2) Use ﬁll ﬂash to illuminate the subject in the foreground, or 3) Fill the frame with the subject and then take your exposure reading.

6. Portrait too dark Problem: Instead of a clear picture of your subject framed by the window you end up with a silhouette effect, where the subject is too dark but the window is well exposed. See above. Cause: When your subject is sitting against an open window the meter is likely to adjust exposure settings for the light around your subject. Solution 1: Move the subject so that the light from the window falls onto them from the front or side rather than behind. Solution 2: Use the camera’s flash system, set to ‘fill flash mode’, to add some more light to the subject. Solution 3: Move closer to the subject until it fills the frame. Take an exposure reading here (by holding the shutter button down halfway) and then reposition yourself to make the exposure using the saved settings.

7. Portrait too light Problem: The main subject is ‘blown out’ or too light (overexposed). Cause: This problem is the reverse of what was happening in the example above. Here the meter is seeing the large dark areas within the frame and overcompensating for it, causing the main subject to be too bright. Solution 1: Manually compensate for the overexposure by adjusting the camera’s exposure compensation mechanism so that the sensor is receiving one, two or three stops less light. Solution 2: Move close to the subject until it ﬁlls the frame. Take an exposure reading here and then reposition yourself to take the picture using the saved settings. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

Fixing common scanning problems 1. Marks on the picture Problem: The photograph contains marks on the surface after scanning. Cause: This usually occurs because of dust or scratches on the glass plate on the top of the scanner or on the photograph or negative. Solution: Clean the glass plate and photograph carefully before placing and scanning your picture. If you still have marks use a retouching tool to remove them (see the Eliminating blemishes technique in Chapter 8 for more details).

2. Color picture appears black and white Problem: After scanning a color picture it appears black and white on screen. Cause: The ‘original’ or ‘media’ option in the scanner software is set to black and white and not color. Solution: Re-scan the picture making sure that the software is set to color original or color photograph.

3. Picture is too bright Problem: The picture looks too bright overall. Light areas of the photograph appear to be completely white with no details. Cause: The picture has been scanned with the wrong ‘exposure’ or ‘brightness’ setting. Solution: Re-scan the picture, but this time move the brightness or exposure slider towards the dark end of the scale before scanning.

4. Picture is too dark Problem: The picture looks too dark overall. There is no detail in the shadow parts of the photograph. Cause: The picture has been scanned with the wrong ‘exposure’ or ‘brightness’ setting. Solution: Re-scan the picture, but this time slide the Brightness or Exposure slider towards the light end of the scale before scanning.

5. Picture looks washed out Problem: The picture has no vibrant colors and looks washed out. Cause: The contrast control in the scanner software is set too low. Solution: Re-scan the photograph altering the scanner’s contrast setting to a higher value.

6. Writing is back to front Problem: The message on a billboard in the picture is back to front. Cause: The negative or slide was placed into the scanner back to front. Solution: Turn the ﬁlm or slide over and scan again. Book resources at: www.adv-elements.com

SCANNER AND CAMERA TECHNIQUES

Use the guide below to help diagnose and solve scanning problems.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

SCANNER AND CAMERA TECHNIQUES

7. The picture has too much contrast Problem: The delicate light areas and shadow details of the picture can’t be seen and have been converted to completely white and completely black. Cause: The contrast control in the scanner software is set too high. Solution: Re-scan the photograph altering the scanner’s contrast setting to a lower value.

8. When I print my scanned picture it is fuzzy Problem: The print of a scanned image is fuzzy, not very clear or is made up of rectangular blocks of color. Cause: To get the best quality prints from your scanned pictures you must make sure that you match the scan quality (resolution) with the output requirements. A fuzzy or unclear print is usually the result of using a scan quality setting that is too low. Solution: Re-scan the picture using a higher scan quality setting (resolution).

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PROCESSING RAW FILES

Processing Raw Files

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PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

aw is the new buzz word in photographic circles the world over. Professionals and serious amateurs alike are switching their cameras from the standard JPEG and TIFF capture options to the Raw format. This is despite the fact that doing so will mean that they add another processing step to their digital photography workflow. It seems that the extra level of control possible when processing your own Raw files (rather than letting the camera do the work) is worth the effort. So how do Photoshop Elements users become part of the Raw Revolution? Well this chapter will outline both the workflow and conversion techniques that you can employ to make Raw capture and processing a regular part of your photographic routine.

The Photoshop Elements approach to Raw processing As we saw in Chapter 2 Raw files contain both the image and metadata along with the actual picture information in a format which cannot be directly opened into Photoshop Elements. Instead the Raw photo is opened first into a conversion utility where global image characteristics such as white balance, brightness, contrast, saturation, noise reduction and sharpness are adjusted before the converted file is opened into the Full Edit workspace. Alternatively the converted file can be saved as an Adobe Digital Negative or DNG file. Once the converted file is opened in the Elements Editor workspace it is no longer a Raw file and can be edited and enhanced just like any other photo. This approach to Raw processing is often called Convert then Edit as the original Raw file must be converted before any pixel-based or local editing can take place. In contrast other Raw processing solutions such as Adobe Lightroom provide a full Raw workflow which includes editing functions and output to print and web without ever converting the Raw file.

Capture

Convert

Raw ﬁle

Manage /Edit

Output /Share

Converted ﬁle (PSD, TIFF)

Adobe Camera Raw Raw Processing >> The Convert then Edit approach is the most popular workflow currently used by Raw shooting photographers. The Raw file is downloaded from the camera and the first task in the process is to convert the file to a type that is more readily supported by photo editing programs such as TIFF or PSD.

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PROCESSING RAW FILES

3.01 Enabling your Raw camera

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Basic

With most Raw-enabled cameras, switching from one capture format to another is a simple matter of entering the camera Set up menu and selecting the Raw entry from the Image Quality or File Format options. With some models you can also make this change via a Quality toggle or switch elsewhere on the camera. Occasionally there is also a choice between saving compressed and non-compressed versions of the Raw file. Unlike the algorithms used for compressing JPEG files, the method used when compressing Raw files is ‘lossless’, meaning that all the detail that was captured is retained in the compressed file. Compressing will mean that pictures will take up less space on the memory card, but the process of compression does result in longer saving times. For most shooters this isn’t an issue but if you like to photograph sports or action, then the extra time taken to compress the file will reduce the frames per second rate of your camera. In practice most Raw shooters opt for non-compressed files and just buy more memory cards to accommodate the larger file sizes that need to be saved. Raw file size

CAPTURE FILE SIZE COMPARISONS

JPEG ﬁle size

(Fine setting)

(Normal setting)

(Basic setting)

Example ﬁle 1

2997 Kb

1555 Kb

782 Kb

17708 Kb 9777 Kb

5093 Kb

Example ﬁle 2

2466 Kb

1575 Kb

748 Kb

17712 Kb

4275 Kb

TIFF ﬁle size

Raw ﬁle size

9776 Kb

(compressed)

Capture format versus file size >> The capture format you select directly affects not only the way the file is saved and its visual quality but also the size of the final file. JPEG produces the smallest files but uses a ‘lossy’ compression system to do so. In the JPEG format you can adjust the level of compression used when saving the photo. In this table the Fine setting uses the least compression and the Basic option the most. Both TIFF and Raw formats preserve all the image detail and any compression used with these formats is ‘lossless’.

There are several cameras on the market that also have the ability to save both Raw and JPEG versions of the same file at the time of capture. This option can be a real time saver if you need to access your pictures quickly, but the feature is less of an advantage if you regularly perform many enhancement steps to your files, as in the end the captured JPEG will not resemble the processed Raw file. At the big end of town most of the high-resolution camera backs, which are destined for use with medium format camera bodies, only capture in Raw formats. Many make use of dedicated software to control the camera, capture the photo and then process the Raw file. Other manufacturers, such as Hasselblad, Samsung, Ricoh and Leica even use Adobe’s DNG format as the capture format, making the transition to Elements a simple one. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

In practice – enabling your camera For the purposes of this workﬂow example I have included step-by-step instructions for both Nikon and Canon cameras below.

Canon workﬂow 1.

Press the Menu button and turn the Quick Control Dial to select the Quality heading and then press Set; this will display the Recording Quality screen.

Next, use the Quick Control Dial again to choose one of the Raw options from those listed. Depending on the camera model your choices may include Raw and Raw + JPEG. Press Set to set the selected capture mode.

Note: Canon cameras divide the controls into two levels: Basic and Creative (advanced). They name these control subsets different ‘Zones’. If your camera is currently in the Basic Zone you won’t be able to choose any Raw caption options. To do this, you will need to switch to the Creative Zone ﬁrst, and then alter the Recording Quality. Canon’s menu system also varies from consumer to pro models so check with the manual if you are unsure.

Nikon workﬂow 1.

To switch the default capture format to Raw, activate the menu on the back of the camera and then use the Multi-selector control to navigate to the Shooting Menu (second option on the left side of the screen). Use the right arrow on the Multi-selector control to pick menu options.

From the ﬁrst page of the menu list, select the Image Quality entry. This will display another screen containing a list of quality options – three JPEG, one TIFF and one NEF (Nikon’s version of Raw). At this screen choose the NEF (Raw) heading.

Selecting NEF will display a ﬁnal screen with a choice of two different Raw capture modes – ‘Comp. NEF (Raw)’ compressed and ‘NEF (Raw)’ uncompressed. Select one of these options and then exit the menu.

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PROCESSING RAW FILES

3.02 Modifying your capture workﬂow for Raw

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

In the previous chapter we looked at the controls that are available to digital camera users that enable them to capture great images. These include such digital-only options as Saturation, Sharpness, White Balance and Contrast Control. Using such features it is possible for the digital photographer to customize their image capture more than was ever possible when film was king. But switching capture formats to Raw impacts directly on the role that these controls play in your digital capture. As we already know factors such as white balance, contrast, saturation and sharpness settings are not fixed in Raw files. These controls are only applied to the file at the time of conversion or after the image exits the Adobe Camera Raw utility and is opened in the Editor workspace. So rather than these factors being applied in-camera, as is the case with JPEG and TIFF capture, they are applied via the ACR utility. In fact any of the adjustments you make to these settings on the camera can be reversed or tweaked in ACR. Remember the white balance illustration? You forget to change from tungsten to daylight and shoot outside. No problem, just make the switch back to the daylight setting in the ACR dialog and the photo is corrected without loss of image quality. So if these factors are controllable at conversion then should the Raw shooting photographer bother with them at time of capture? This is a good question to which you will receive many answers. Unfortunately many shooters believe that capturing in Raw is a ‘fix all’ for poor camera technique. Haven’t selected the right white balance? No problem fix it in Raw. Haven’t judged the light quite right? Again, not a big deal just fix it in Raw. Nor adjusted your lighting for good contrast? Again, not an issue, there is contrast control in Raw. But to my mind although many factors can be altered in Raw this approach has three main drawbacks:

2. The white balance settings determined at time of capture provide a good starting point for further ﬁne-tuning during the conversion process. 3. If a Raw + JPEG capture mode is being used then the color in the accompanying JPEG photo will better match the processed Raw ﬁle as it was more accurate at the time of capture.

Raw capture will ﬁx it!

1. Correctly captured pictures need less correction when converting, saving valuable time.

4. Correct exposure provides better quality edited images as ideally no shadow or highlight details are clipped when the picture is taken.

Raw capture implications on workflow So what changes to standard capture workflow should the Raw shooter make? Let’s examine the impact of Raw capture on some of the standard camera controls. Resolution – When working with Raw as the capture format, most cameras will not provide the ability to alter the dimensions of your photo. The largest photo possible (one sensor site to one pixel) is generally recorded in the Raw file. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Color Depth – Raw photographers automatically get access to the increased levels of tone afforded by high-bit capture because nominating Raw as the capture format negates the camera’s bit depth settings and automatically provides the full depth capable by the sensor. At time of conversion in ACR you can elect the bit depth of the converted file. Saturation – As the vibrancy or saturation of the converted image can be controlled on a picture-by-picture basis in ACR it is a good idea to leave this camera setting on the default or normal value. This will display your photo with standard saturation in ACR and then give you the option to boost or reduce vibrancy according to the requirements of the photo. White Balance – Despite the fact that white balance can be losslessly adjusted in ACR it is good practice to match white balance settings with the dominant light source in your scene. This helps to maintain the photographer’s own capture skill as well as ensuring speedier color cast removal in ACR, as the camera settings are loaded as default when opening the image. The more accurate these capture settings are the less fiddling the photographer will need to do to ensure a great result. Contrast – Most cameras have the choice to increase or reduce contrast. The feature is invaluable when shooting in difficult lighting scenarios and saving the results back to TIFF or JPEG files. Raw shooters have the luxury of being able to make these types of contrast adjustments much more accurately and on an image-by-image basis back at the desktop. Sharpening – Professionals now employ a workflow that applies sharpening at three different times during the enhancement process – at time of capture, during enhancement and then when preparing for output. For Raw shooters adopting this approach means adding a little global sharpening in-camera or at the time of conversion. Both approaches are fine as long as the sharpening is kept to a minimum with the idea that it will be fine-tuned later to account for subject matter and output destination. Noise Reduction – Reducing noise on the desktop, either during Raw conversion or afterwards inside Photoshop Elements, provides better control over the process and therefore better results than the auto approach adopted by in-camera systems. ISO – Shooting in Raw doesn’t directly affect the selection of ISO setting used for capture. These settings will be based on the available light in the scene or the shutter speed required to freeze or blur motion. Camera Exposure – Shooting in Raw doesn’t change the fact that exposure is key to the creation of high quality images. It is true that the slider controls in ACR provide a great deal of flexibility when it comes to processing the tones in a photo and that this means that slight problems with exposure (under- or overexposure) can be corrected more easily than with other capture formats. What is important to remember though is that this doesn’t provide photographers with a license for poor exposure control. The best conversions are made with images that are well exposed. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

Over the history of the development of Photoshop Elements one of the most significant additions to the program has been the Organizer workspace. This feature provides a visual index of your pictures and can be customized to display the images in Photo Browser Mode, date mode or sorted by keyword tags or album (collection). Unlike the standard file browsers of previous editions which created the thumbnails of your pictures the first time that the folder is browsed, the Organizer creates the thumbnail during the process of adding your photographs to a collection. To commence downloading your Raw files and, in the process, create your first collection, simply select the View and Organize option from the Welcome screen and then proceed to the Organizer: File > Get Photos and Videos menu option. Select one of the listed sources of pictures (camera or folders) provided and move through the steps and prompts in the dialogs that follow. If you are sourcing your files from a camera or card reader then the Adobe Photo Downloader (APD) automatically starts when you attach these devices, removing the need for you to go to the Get Photos menu to start the downloading process.

Option 1: Getting your Raw files from camera or card reader To demonstrate the process let’s start by downloading some photographs from a memory card or camera. This will probably be the most frequently used route for your Raw images to enter the Elements program. Connect the camera, being sure that you have first installed the drivers for the unit. Alternatively you may wish to eject the memory card from the camera and insert it Downloading files >> Raw files can be imported into a card reader that is already attached to the directly from the camera or by inserting the memory card into an attached reader. computer. The Adobe Photo Downloader utility should automatically start; if it doesn’t then manually select the From Camera or Card Reader option from the File > Get Photos and Videos menu. After attaching the camera, or inserting a memory card into the reader, you will see the Adobe Photo Downloader dialog. This is a utility designed specifically for managing the download process and has both a Basic and Advanced dialog mode. The Basic Dialog is displayed by default. The first step is to select the location of the pictures (the card reader or memory card in the camera) from the Source drop-down menu in the top right of the dialog. The first photo in the group is shown as a thumbnail on the left of the window. Below this area is the Import Book resources at: www.adv-elements.com

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3.03 Using the Adobe Photo Downloader

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Settings section where you can choose the folder location for the pictures that are downloaded as well as options to create new subfolders, rename photos and delete successfully downloaded ﬁles. There is also a checkbox for activating the new Automatic Download feature which imports photos directly from card reader or camera, bypassing the Adobe Photo Downloader dialog and instead using the import options saved in the Camera or Card Reader preferences (Edit > Preferences > Camera or Card Reader).

PROCESSING RAW FILES

Clicking the Advanced Dialog button at the bottom left switches the window to a more sophisticated version of the feature. Here all the photos on the card/camera are previewed and you have the additional options of ﬁxing red eyes, creating photo stacks and adding group tags Basic Dialog

Source of images to download

Preview Location

Browse for save location

Subfolder information

Adobe Photo Downloader >> The Adobe Photo Downloader or APD utility is used to transfer images from your camera or card reader to your computer. In the process you can rename, add tags, remove red eye, apply metadata and even suggest Photo Stack groupings.

Rename ﬁle details Automatic Download option and help

Delete options Switch to Advanced dialog

Start the download process

Source of images to download

Advanced Dialog Location

Select ﬁle types to show

Subfolder information Rename ﬁle details

Show any duplicate ﬁles

Fix Red Eye, Suggest Photo Stacks, Tagging and Delete options

Thumbnail preview

Metadata details

Select checkbox

Automatic Download option and help

Help

Cancel Help

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Start the download process

PROCESSING RAW FILES

After selecting the options in either the Basic or Advanced dialog click the Get Photos button to transfer the pictures. After the process is complete Elements will tell you that the ﬁles have been successfully imported.

Option 2: Loading Raw files from an existing archive, disk or drive Acting much like the File > Open option common to most programs the Get Photos and Videos > From Files and Folders selection provides you with the familiar operating system browse window that allows you to search for and open pictures that you have already saved to your computer. You generally have the option to view your files in a variety of ways including Thumbnails, Tiles, Icons, List and Detail Views using the drop-down menu from the top of the window. However, for Windows XP users, the Thumbnail option will only display small previews of your Raw files if the Microsoft Raw Image Thumbnailer and Viewer utility is installed. This is available free from http://www.microsoft.com/windowsxp/using/digitalphotography/prophoto/ Raw.mspx. Vista users will only be able to preview their raw files in Windows Browsers after installing a Raw file CODEC available from the camera manufacturer’s website. Users can also elect to automatically fix red eyes or suggest photo stacks here as well. After selecting the image, or images, you wish to import into Elements, select the Get Photos button.

How to multi-select the files to import To select several images or files at once hold down the Ctrl key whilst clicking on the pictures of your choice. To select a complete list of files without having to pick each file in turn click on the first picture and then, whilst holding down the Shift key, click on the last file in the group.

Disable the Adobe Photo Downloader 2. Deselect ‘Auto Launch Adobe Photo Downloader on Device Connect’.

Enable the Adobe Photo Downloader 1. For Elements 5/6 users select Organizer: Edit > Preferences > Camera Or Card Reader. 2. Select ‘Auto Launch Adobe Photo Downloader on Device Connect’.

Enabling the Automatic Download option in Adobe Photo Downloader (APD) 1. Choose the Automatic Download option from the APD Basic or Advanced dialogs. The downloader will commence automatically the next time a card/camera is connected. 2. Select Organizer: Edit > Preferences > Camera Or Card Reader and set the preferences for the download in the Files and Download sections of the dialog.

Activating and deactivating APD

1. Select Organizer: Edit > Preferences > Camera Or Card Reader.

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and metadata information automatically as ﬁles are downloaded. By default all pictures on the card will be selected ready for downloading and cataloging. If for some reason you do not want to download all the images then you can deselect them by unchecking the tick box at the bottom right-hand of the thumbnail.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

PROCESSING RAW FILES

3.04 The Adobe Camera Raw interface Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

Before commencing to process our first raw file, let’s take a close look at the Adobe Camera Raw feature as it appears in Photoshop Elements 6.0. The ACR dialog, the user interface between you and what goes on inside the Camera Raw plug-in, provides tools to adjust, process, convert and save raw files. After opening a raw photo from inside either the Organizer or Editor workspaces, this dialog will be displayed.

19 20 1 16 2

5 17

18 11

7 8 9 10

Features and tools in the Adobe Camera Raw dialog box 1. Preview area. 2. White balance settings. 3. Tonal controls. 4. Auto option for tonal control settings. 5. Color controls.

15 6. Sharpness and noise options. 7. Zoom tool. 8. Hand tool. 9. White balance tool. 10. Crop tool. 11. Straighten tool. 12. Red eye removal tool. 13. ACR preferences.

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Adobe Camera Raw interface >> Features of the Adobe Camera Raw dialog box in Photoshop Elements 6.

14. Rotate buttons. 15. Mark for deletion button. 16. Queued raw ﬁles. 17. Save button. 18. Bit depth options. 19. Shadow and highlights clipping warnings. 20. Preview checkbox.

PROCESSING RAW FILES

ACR dialog work areas >> The ACR dialog can be broken into four separate areas: 1. Preview. 2. Image adjustment controls. 3. Raw ﬁle queue. 4. Toolbar.

The feature’s window is broken into four distinct areas: 1.

A preview of the file is displayed in the center of the dialog. Any editing or development changes made to the file will be reflected automatically in this preview.

A queuing area for raw ﬁles awaiting processing. This area of the dialog is only present when multiple raw ﬁles are selected for opening and is new for Photoshop Elements 6.

Controls or settings area. This part of the dialog contains all the processing and development controls for altering the look of the color, tone, sharpening and noise in the photo. The settings are grouped under two tabs – Basic and Detail. A histogram graph is also displayed here.

The toolbar sits at the top of the dialog and houses options such as the Zoom, Hand, Crop and Straighten tools.

The Help and Save buttons are located at the bottom left of the window. In the center is the bit depth menu and on the right, are the Done, Cancel and Open Images buttons. To ensure that you have the best selection of tools to use on your raw ﬁles, make sure that your ACR plug-in is always up to date. See section 3.05 for more details on how to obtain and install the latest version of the plug-in. By way of introduction let’s look at each of these work areas in turn.

The preview space The preview displays the changes you make to your image via the develop or enhancement settings. Any adjustment of controls are reﬂected immediately in the preview image, providing a visual reference to the effect of the alterations. The preview can be enlarged or reduced in size to suit the screen area available. When making some changes, such as Sharpening or Noise Book resources at: www.adv-elements.com

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

PROCESSING RAW FILES

The preview >> The preview image in ACR’s dialog is capable of being magniﬁed to a range of levels. The current magniﬁcation value is shown in the bottom left corner of the window.

Reduction, the preview should be magniﬁed to at least 100%. At this zoom setting, you will be able to preview the results of the adjustments of these controls. There are three ways for you to change the magniﬁcation level of the preview to 100%: 1.

Double-click the Zoom tool,

Select the 100% entry from the zoom menu at the bottom left of the dialog, or

Use the Ctrl+ to magnify or Ctrl - to reduce the size of the preview to the zoom value in the window at the bottom left of the dialog.

Zoom to 100% >> The zoom menu at the bottom left of the dialog provides a variety of zoom levels for quick access.

Image adjustment controls The right-hand side of the ACR dialog is reserved for the core adjustment features.

Histogram A full color histogram is located under the RGB values. The feature graphs the distribution of the pixels within your photo. The graph updates after changes are made to the color, contrast and brightness of the picture. By paying close attention to the shape of the graph you can pre-empt many image problems. The aim with most enhancement activities is to obtain a good spread of pixels from shadow through midtones to highlights without clipping (converting delicate details to pure black or white) either end of the tonal range. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

Image tones and histogram shapes >> The histogram in ACR shows the distribution of pixels across the image. Areas with the most pixels are the tallest areas of the graph. The shape of the histogram indicates the look of the picture.

PROCESSING RAW FILES

1. An overexposed image has a histogram with the pixels bunched to the right end of the graph. 2. Conversely, underexposed photos have pixels pushed to the left. 3. Flat or low-contrast pictures typically have all their pixels grouped in the middle. 4. High-contrast photos or those that have ‘clipped’ highlights and shadow areas usually have many pixels at the extreme ends of the graph. 5. For the best results, with most images, you should always aim to spread the pixels between the maximum black and white points without clipping any of the image pixels.

This is not the case for all photos though. Take, for instance, the case of a black cat in a darkened room, the correct histogram for this photo will show a bunching of the pixels towards the left side of central, where as a shot of the ski slopes, also correctly exposed, will display most pixels to the right of the histogram graph.

The Basic tab Below the histogram is a tab area containing two options – Basic and Detail. The Basic tab contains all the tone and color controls. On the other hand, the Sharpening and Noise Reduction features are grouped under the Detail tab. Here we will concentrate on the controls under the Basic tab.

Image Settings menu The Settings drop-down menu is displayed by clicking the Settings button on the right side of the Tabs. The menu contains the Image Settings, Camera Raw Defaults, Previous Conversion, Custom, Clear Imported Settings, Save New Camera Raw Defaults, and Reset Camera Raw Defaults entries. Here are some more details on each entry:

The Settings menu >> The Settings menu contains options for saving or recalling image settings associated with speciﬁc cameras.

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PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Image Settings: The Image Settings option restores the original settings of the current photo. Use this selection when you want to reverse changes that you have made and wish to restore the photo to its virgin state. Camera Raw Defaults: This option applies a group of slider settings that are default values associated with a speciﬁc camera and photograph. When a photo is opened for the ﬁrst time, the settings and white balance will be altered to Camera Raw Defaults (based on the camera model) and As Shot (based on the camera settings used for the photograph), respectively.

Pro’s tip: As ACR recognizes the raw ﬁle created with different cameras the new Camera Raw Default will be applied to only those photos captured with the speciﬁc camera that the settings have been saved for.

Previous Conversion: Another option in the Settings drop-down menu is Previous Conversion. This setting stores the ‘last used’ values for all controls and is an efﬁcient way to apply the enhancements used with the previous image to one currently open in the dialog. Using this option will help speed up the conversions of a series of photos taken at the same time under the same lighting conditions. Simply make the adjustments for the ﬁrst image and then use the Previous Conversion option to apply the same settings to each of the successive photos from the series in turn. Custom: Moving any of the slider controls such as Temperature or Tint sliders under the White Balance menu automatically changes the settings entry to Custom. Once the settings have been customized for a particular photograph the values can be saved as a new Camera Raw Default entry using the save option in the pop-up menu accessed via the sideways arrow next to the Settings menu.

White balance correction White balance is used to correctly balance the color of the scene to the lighting conditions at the time the shot was taken. Leaving white balance set at As Shot means you elect to keep the white balance values that were used when taking the picture. As you know, one of the advantages shooting raw is that this setting is not a fixed part of the picture file. Altering the specific white balance setting at the time of raw conversion is a ‘lossless’ action. This is not the case if you have used an incorrect setting and have shot in JPEG or TIFF. Use either of these two formats and the white balance setting will be fixed in the file and can only be changed with destructive adjustments using features like Color Variations or Remove Color Cast. In this regard raw shooters have much more flexibility. White Balance drop-down menu: For instance, if you selected a Daylight setting in-camera and think that Shade or another white balance preset may be closer to the actual lighting conditions you may select one of the options from the list of presets under the White Balance drop-down menu. Moving either the Temperature or Tint sliders switches the setting to Custom. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

These controls are used for matching the image color temperature with that of the scene. Temperature slider: The Temperature slider is a finetuning device that allows you to select a precise color temperature in units of degrees kelvin. When an image is too yellow, meaning it has a lower color temperature than you prefer, move the Temperature slider to the left to make the colors bluer and compensate for the lower color temperature. When an image is too blue, or higher in temperature than you prefer, move the slider to the right to make the image warmer, adding more yellow compensation. So, left is to make image colors cooler and right is to make image colors warmer. Tint slider: The Tint slider fine-tunes the white balance to compensate for a green or magenta tint. Moving the Tint slider to the left adds green and to the right adds magenta. This control is often used to neutralize a color cast caused by lighting from fluorescent tube or strip sources.

White Balance control >> When an original ﬁle is opened for the ﬁrst time in the dialog, the settings and white balance values will be set to Camera Raw Defaults (based on camera model and make) and As Shot (determined by the camera settings at the time of capture), respectively.

Click on the White Balance tool.

Move the White Balance tool cursor over a midtone area which should be neutral gray (e.g. textured white area) but contains a color cast in the preview.

Click on the image location to neutralize the cast not just in the selected area but in the whole photo.

WB tool workﬂow

White Balance tool: The quickest and perhaps easiest way to adjust white balance is to select the White Balance tool and then click in an area that should be neutral gray or even amounts of red, green and blue. For best results, use a dark to midtone as the reference and be careful not to click on an area with pure white or specular highlights. These will produce unreliable results so keep away from the bright highlight areas of highly reﬂective or chrome surfaces. One suggestion for working with neutral gray is to:

Making tonal adjustments Below the white balance controls are the Exposure, Recovery, Fill Light, Blacks, Brightness, Contrast, Clarity, Vibrance and Saturation sliders which are also available for making adjustments to raw ﬁles. Adobe has positioned these controls in the dialog so that when working Book resources at: www.adv-elements.com

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

from top to bottom you follow a speciﬁc enhancement workﬂow. For this reason you should follow these steps in order:

Tonal changes workﬂow

PROCESSING RAW FILES

Set the white clipping points using the Exposure slider.

Set the black clipping points using the Shadows slider.

Use Recovery/Fill Light controls (if needed).

Adjust the overall brightness using the Brightness slider.

Adjust contrast using the Contrast slider.

Use the Clarity slider to adjust local contrast.

Boost speciﬁc desaturated colors with the Vibrance slider.

Adjust saturation, if needed, using the Saturation slider.

Tonal adjustment sequence >> Adobe has positioned the slider controls that adjust the tones within the image in the order (top to bottom) that they should be applied within the ACR dialog. The Exposure and Blacks sliders should be used ﬁrst to set the white and black points in the photo. Use the Alt/Option keys in conjunction with these sliders to preview the pixels being clipped and to accurately peg the white/black points. Or alternatively switch on the Shadows/Highlights Clipping Warnings which perform the same function whilst leaving the full color preview visible. Next lighten or darken the photo using the Brightness slider. Unlike the Exposure control this slider doesn’t affect the white and black points of the image but rather adjusts the appearance of the photo by compressing or extending the altered tones. Recovery and Fill Light sliders are new for this release of Elements’ ACR. Use the Recovery control to rebuild highlight areas where one channel has been clipped. The Fill Light slider brightens mid to dark shadow areas.

Exposure The Exposure slider adjusts the brightness or darkness of an image using value increments equivalent to f-stops or EV (exposure values) on a camera. An image is underexposed when it is not light enough or too dark and it is overexposed when it is too light. Simply move the slider to the left to darken the image and to the right to lighten (brighten) the image. What do the f-stop or EV equivalents indicate? An adjustment of -1.50 is just like narrowing the aperture by 1.5 (one and a half) f-stops. Moving the slider 1.33 places to the left will dramatically darken an image and to the right the same amount will result in a bright image. If you have to move more than two full stops in either direction this probably indicates your settings at capture were inaccurate. Making adjustments beyond two stops starts to deteriorate image quality as invariably shadow or highlight detail is lost (clipped) in the process.

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PROCESSING RAW FILES

Blacks (Shadows) Moving the Blacks or Shadows slider adjusts the position of the black point within the image. Just as was the case with the Exposure slider you should only make shadows adjustments when the clipping warning is active. This will ensure that you don’t unintentionally convert shadow detail to black pixels. Remember movements of the slider to the left decrease shadow clipping. Moving it to the right increases or produces clipping.

Brightness and Contrast The Brightness slider is different to the Exposure slider although both affect the brightness of an image. Brightness compresses the highlights and expands the shadows when you move the slider to the right. When adjusting your photos your aim is to set the black and white points ﬁrst and then adjust the brightness of the midtones to suit your image.

Highlight and Shadow clipping warnings >> To ensure that you don’t accidently convert shadow or highlight detail to pure black or white pixels ACR contains two different types of ‘Clipping’ warnings. 1. When the Shadows and Highlights Clipping Warning features are selected at the top of the Histogram graph, areas of highlight clipping are displayed in the preview as red and shadows as blue. 2. Holding down the Alt key whilst moving either the Exposure or Shadows sliders will convert the preview to black (for Exposure) or white (for Shadows). Any pixels being clipped will then be shown as a contrasting color against these backgrounds.

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PROCESSING RAW FILES

For those of you who are interested, the Exposure slider sets the white clipping points in the image. Clipping shows as values creeping up the left (shadow) and right (highlight) walls of your histogram (and red and blue areas in the image if shadow and highlight previews are turned on), and occurs when the pixel values shift to the highest highlight value or the lowest shadow value. Clipped areas are completely black or white and contain no detail. As you want to maintain as much detail in the shadows and highlights as possible your aim should always be to spread the picture tones but not to clip delicate highlight or shadow areas.

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Contrast adjusts the spread of the midtones in the image. A move of the Contrast slider to the right spreads the pixels across the histogram, actually increasing the midtone contrast. Conversely movements to the left bunch the pixels in the middle of the graph. It is important to adjust the contrast of midtones after working on exposure, shadows and brightness.

2 Recovering highlights >> The Recovery slider is used for correcting clipped highlights. With the clipping warning activated it is easy to see problem highlights (1). When moving the slider to the right, ACR will attempt to reconstruct clipped details from the information stored in the nonclipped channels (2).

Recovery When a photograph is overexposed one of the consequences can be that the lighter tones in the image lose detail and are converted to pure white. This process is called clipping. Digital images are created with details from three color channels (red, green, blue). In situations of slight overexposure, when only one channel is clipped, it is possible to recreate the lost detail with the highlight information from the other two (non-clipped) channels. The Recovery slider attempts to recreate lost highlight details in such cases. Moving the slider to the right progressively increases the degree of highlight recovery.

Fill Light The Fill Light slider is used to lighten the darker tones in a picture without affecting the middle to highlight values. Use this control to brighten backlit subjects or boost shadow details. The beauty of this control is that the changes it makes do not generally impact on mid to highlight values. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

Boosting shadows >> The Fill Light slider manipulates the mid to dark tones in the photo. Moving the slider to the right pushes these tones towards the highlight end of the histogram, lightening them.

Clarity Located along with Vibrance and Saturation controls at the bottom of the Basic panel, this new slider produces localized contrast changes to otherwise ﬂat images. Rather than adding contrast to the whole image by streteching the tones between black and white points, Clarity works on changing contrast on the detail in your photos. There are many sophisticated, multi-step, sharpening techniques that produce similar effects but thankfully Adobe has managed to squeeze much of their contrast-increasing abilities into a single control. Moving the slider to the right increases the effect.

ORIGINAL

CLARITY +50

CLARITY +100

Adding contrast using the Clarity slider >> The Clarity slider gradually increases the contrast of details in the photo.

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PROCESSING RAW FILES

Pro’s tip: In some instances you may need to readjust Exposure and Blacks sliders after Brightness, Recovery, Fill Light and Contrast to ﬁne-tune your enhancements.

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Vibrance The Vibrance slider is a new addition to the Basic panel of Adobe Camera Raw. Like the Saturation control, Vibrance controls the strength of the color in the photo. Movements to the right boost the color and movements to the left make the vividness of the hue more subtle. But unlike the Saturation slider, Vibrance manages these changes selectively, targeting the least saturated colors and protecting (to some extent) skin tones. This makes the new control the ﬁrst tool to reach for when you want to boost the color in your photos. The results are easier to control and less likely to display posterization or color clipping from over-application than the traditional Saturation control. Saturation control >> The Saturation slider controls the strength or vibrancy of the color within your raw photos. (1) Dragging the slider all the way to left (-100) will remove all color from the photo, creating a monochrome picture. (2) A value of 0 is the default setting where the saturation is neither boosted nor reduced. (3) Moving the slider all the way to the right to a setting of +100 produces twice the saturation of the normal or default setting.

Saturation If desired, the Saturation slider may be used to adjust the strength of the color within the photo. A setting of -100 is a completely desaturated monochrome image and a value of +100 doubles the saturation. Watch changes in the histogram when you move the Saturation slider in either direction.

Auto tonal control When ﬁrst opening a picture ACR will adjust the tonal controls to an average setting for the picture type and camera make/model. When the Auto setting is selected, ACR examines the picture and adjusts the controls according to the images’ content. When these settings are in place, moving the associated slider will remove the selection but these values can be reinstated by selecting the check box again.

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ACR auto options >> (1) A single Auto button is provided with the version of ACR that ships with Photoshop Elements 6. (2) There are individual Auto options for Exposure, Shadows, Brightness and Contrast controls inside earlier versions of the ACR dialog.

PROCESSING RAW FILES

Sharpening (Amount, Radius, Detail, Masking), Luminance Smoothing and Color Noise Reduction are all controls that can be accessed under the Detail tab.

Sharpening Sharpening is an enhancement technique that is easily overdone and this is true even when applying the changes at the time of raw conversion. The best approach is to remember that sharpening should be applied to photos as the very last step in the editing/ enhancement process and that the settings used need to match the type of output the photo is destined for. In practice this means images that are not going to be edited after raw conversion should be sharpened within ACR, but those pictures that are going to be enhanced further should have a small amount of subtle sharpening applied in ACR and specific output sharpening applied later using the specialist filters in Photoshop Elements. Detail Tab controls >> When a picture is first opened into the ACR the program sets the The Detail tab contains both Sharpening and sharpening and noise values based on the camera type and model Noise Reduction options. used to capture the image. For many photographers making further adjustments here is an exception rather than a rule as they prefer to address sharpening in the Editor after cropping, straightening, enhancing, resizing and going to print.

The inclusion of two new controls in the Detail section of the Camera Raw dialog contributes substantially to the user’s ability to ﬁne-tune the sharpening in their images. Added to the existing Amount (strength of the effect) and Radius (number of pixels from an edge that will be changed in the sharpening process) sliders is the Detail and Masking controls. Both sliders are designed to control which parts of the image the sharpening effect is applied to. As with all sharpening techniques ensure that the preview is set to 100% before playing with the new controls. In fact, this magniﬁcation level is essential if you are to see the masking previews mentioned below. Moving the Detail slider to the right increases the local contrast surrounding edge areas and therefore enhances the appearance of details. Moving the slider to the left decreases the effect and also reduces the appearance of halos. The Masking control interactively applies an edge locating mask to the sharpening process. Sharpening through an edge mask is nothing new but encapsulating the process in a single slider control is. A setting of 0 applies no mask and therefore all detail in the photo is sharpened. Moving the slider to the right gradually isolates the edges within the photo until, at a setting of 100, sharpening is only being applied to the most contrasty or dominant edges in the picture. Holding Book resources at: www.adv-elements.com

PROCESSING RAW FILES

Sharpening, Luminance Smoothing and Color Noise Reduction

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

PROCESSING RAW FILES

AMOUNT

DETAIL

RADIUS

MASKING

Sharpening preview options >> After magnifying the preview to 100% there are four different preview options available when holding down the Alt keys and sliding one of the Sharpening sliders.

down the Alt key (at 100% magniﬁcation) as you move the slider previews the masked areas, allowing you to ﬁne-tune exactly where the sharpening is being applied. Remember no sharpening is occurring in the black parts of the mask, in the areas masked by gray tones only partial sharpening is being applied and in white mask sections the full effect is revealed. As well as including a mask display option, in the latest version of ACR you can also preview the settings for the other sharpening sliders. Holding down the Alt keys while moving the Amount slider displays a ‘luminosity only’ version of the image so that you can gauge the sharpening effect without the distraction of color. This preview also reminds us that in the latest version of ACR sharpening is applied to detail only and not the color information in the photo. When the Alt/Opt Book resources at: www.adv-elements.com

PROCESSING RAW FILES

ACR noise reduction controls >> Along with the masking options for Sharpening, the ACR design team also took the opportunity to tweak the noise reduction algorithms in the latest release of the product. Though the effects are not as dramatic as those possible via other methods, the changes are deﬁnitely an improvement.

Noise Reduction ACR contains two different noise reduction controls. The Luminance Smoothing slider and the Color Noise Reduction control. The Luminance Smoothing slider is designed to reduce the appearance of grayscale noise in a photo. This is particularly useful for improving the look of images that appear grainy. The second type of noise is the random colored pixels that typically appear in photos taken with a high ISO setting or a long shutter speed. This is generally referred to as chroma noise and the effect is reduced using the Color Noise Reduction slider in ACR. The noise reduction effect of both features is increased as the sliders are moved to the right.

Queued Raw ﬁles >> When selecting multiple raw ﬁles to open in Photoshop Elements the pictures are listed on the left side of the Adobe Camera Raw dialog.

Raw file queue The third section of the Photoshop Elements version of the ACR dialog only appears when you select multiple raw files inside the Organizer workspace and then choose the Full Edit option from the right-click menu. The selected files are opened into the ACR dialog and listed on the left-hand side of the main workspace. This function, though available in the Photoshop version of ACR, is new for the edition that ships with Photoshop Elements 6. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

keys are used with the Radius slider the preview highlights the ‘edges’ in the image that will be sharpened and the width of the sharpening effect.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

In general, only one image can be selected from the grouping, and displayed in the preview area, at a time. All changes made to the image settings are applied to the selected photo only. Users can move from image to image making the necessary enhancements before clicking the Done key to apply the changes without transferring the ﬁles, or Open to display the converted pictures in the Full Edit workspace. But this is not the only way to work with the ﬁles.

PROCESSING RAW FILES

Synchronizing enhancements across multiple ﬁles

Step-by-step:

The Select All button at the top of the queued files can be employed for a more efficient workflow. With this feature enhancement changes made to a single photo can be applied across the whole range of images queued in the dialog.

Applying changes across multiple raw ﬁles 1.

For best results, start by multi-selecting ﬁles from the Organizer space that have similar characteristics or were shot under the same lighting conditions.

Next, open the pictures in ACR by selecting the Full Edit option from the right-click menu. The ACR dialog opens with the selected ﬁles listed as thumbnails on the left.

Now select a single photo from the queue that is indicative in tone and color of the whole group. With this photo displayed in the preview area, choose the Select All option from the top of the dialog.

Proceed to make enhancement changes to the previewed ﬁles as you would normally. Notice that these changes are also applied to the other photos in the queue.

The changes made to all the photos can then be ﬁnetuned to suit the characteristics of individual images (if needed) by selecting each picture in turn and adjusting the controls.

If no changes for individual ﬁles are necessary, then the selected photos can be saved, using the Save Images button, transferred to the Edit workspace with the Open Images option or the enhancement settings applied by clicking the Done button.

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PROCESSING RAW FILES

Applying changes across rated raw ﬁles

In addition to being able to apply image changes across all the queued files by choosing the Select All button, it is also possible to adjust a subset of the files listed. Start by reviewing each of the queued files in turn by clicking onto the thumbnail on the left of the dialog.

During the review process rate those ﬁles that you want to adjust as a group. Do this by clicking the star rating section located under each thumbnail.

Once the review process is completed and all ﬁles to be enhanced as a group are rated, hold down the Alt key and choose the Select Rated button at the top of the queued list. Notice that this action selects only those ﬁles with a star rating attached.

Now you can set about applying the changes to those selected as before.

If you want to remove an image from the Rated grouping simply click on the no rating option under the thumbnail.

The ACR toolbar >> Photoshop Elements users have access to a range of tools via the toolbar at the top of the ACR dialog. 1. Zoom tool 2. Hand tool 3. White Balance tool 4. Crop tool

Step-by-step:

5. Straighten tool 6. Red Eye Removal 7. Preferences dialog 8. Rotate image 90ºCC 9. Rotate image 90ºC 10. Toggle Mark for Delete 11. Preview 12. Toggle Full Screen

Toolbar Like the image adjustment tabs on the right of the ACR dialog, the contents of the program’s toolbar are different depending on if you are working on ﬁles inside Photoshop Elements or Photoshop/ Bridge. Elements users have the following tools at their disposal (left to right): Zoom tool ( shortcut key = Z) – The Zoom tool is useful for looking closely at the image for problems with focus and execution – slow shutter speed, lack of stabilization, incorrect aperture Book resources at: www.adv-elements.com

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

setting. At 25% an image may appear to be quite impressive, yet when examining it at 100% often a bit of movement and/or lack of focus appear. Hand tool (H) – When the preview image is enlarged you can use the Hand tool to easily move around the screen. White Balance tool (I) – The White Balance tool is very powerful. Clicking this tool on a picture portion that is meant to be neutral (even amounts of red, green and blue) removes any color casts and adjusts the hue of the entire image in one fell swoop. Crop tool (C) – Use the Crop tool to remove unwanted areas around your photo or to reshape the format of the image to fit a specific paper type. The tool can be click-dragged around the area to keep or a specific cropping format can be selected from the drop-down menu accessed via the small downward-facing arrow in the bottom right of the tool button. Straighten tool (A) – The Straighten tool can automatically rotate a picture taken with the horizon slightly crooked. Simply drag the tool along the line in the image that is meant to be level and ACR will automatically rotate and crop the photo to realign the horizon. The Straighten and Crop tools don’t actually remove parts of the Raw image, in fact it is just previewing the crop or horizon line that is going to be opened in the Editor, but is not actually cropping the Raw file. Red Eye Removal (E) – Use the Red Eye Removal tool to recolor the pupil area of photos taken with flash. Either click onto the red pupil or click-drag a marquee around the problem area. The Pupil Size and Darken sliders can be used to adjust the quality of the results. Open Preference dialog (Ctrl + K) – Displays the Camera Raw Preferences dialog. Rotate image 90° counter-clockwise (L) – Rotates the selected photo to the left. Rotate image 90° clockwise (R) – Rotates the selected photo to the right. Toggle Mark for Delete – Use this tool carefully to delete files that you don’t want to keep in the catalog. Preview (P) – Switches the preview of current image adjustments settings on and off. Toggle Full Screen (F) – Switches the display mode of the dialog from a floating window to full screen.

Output options Now to the business end of the conversion task – outputting the ﬁle. At this stage in the process ACR provides several options that will govern how the ﬁle is handled from this point onwards. In previous versions of the dialog the lower right-hand corner houses all the output options, now they are spread along the bottom of the window. The options include Save Image, Cancel, Open Image, Done and Help, and a further three, Save Image (without the options dialog), Reset and Open Copy, when the Alt button is pushed. Book resources at: www.adv-elements.com

PROCESSING RAW FILES

Help

The Editor workspace

Alternative ACR button layout displayed when Alt key is pressed

The Organizer workspace

Outputting the ďŹ le >> Once all controls for the raw conversion have been set ACR provides a range of options for the next step in the process. Save, Help, Cancel, Done and Open are available by default (1). Holding down the Alt key switches the button set to Save (without a dialog), Help, Reset, Open Copy and Done (2).

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PROCESSING RAW FILES

Save Options dialog

PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Help: Opens the Photoshop Elements help system with raw processing topics already displayed. Cancel: This option closes the ACR dialog not saving any of the settings to the file that was open. Save Image: The normal Save Image button, which includes several dots (...) after the label, displays the Save Options dialog. Here you can save the raw file, with your settings applied, in Adobe’s own DNG format. The dialog includes options for inputting the location where the file will be saved, the ability to add in a new name as well as DNG file-specific settings such as compression, conversion to linear image and/or embed the original raw file in the new DNG document. It is a good idea to Select Save in Different Location in the Destination drop-down at the top to separate processed files from archive originals. Clearly the benefits of a compressed DNG file are going to help out in the storage issue arena and compression is a big advantage with DNG. Embedding the original raw file in the saved DNG file begs the questions of how much room you have in the designated storage device and whether you really want to have the original raw file here. Save Image (without save options): Holding down the Alt key when clicking the Save button skips the Save Options dialog and saves the file in DNG format using the default save settings.

Options for saving >> The Save Options dialog is displayed when the Save Image ... button is pressed. To skip this dialog and still save the processed ﬁle in DNG format hold down the Alt/Option key whilst clicking the Save Image button.

Open Image: If you click on the Open button Elements applies the conversion options that you set in ACR and opens the file inside the Editor workspace. At this point, the file is no longer in a raw format so when it comes to saving the photo from the Editor workspace Elements automatically selects the Photoshop PSD format for saving. Open Copy: The Open Copy option differs from Open Image in that it applies the development settings to a duplicate of the file which is then opened into the Elements Editor workspace. Reset: The Reset option resets the ACR dialog’s settings back to their defaults. This feature is useful if you want to ensure that all settings and enhancement changes made in the current Book resources at: www.adv-elements.com

PROCESSING RAW FILES

Done or Update: The Done button applies the current settings to the photo and the dialog is then closed. The thumbnail preview in the PhotoBrowser workspace will also be updated to reﬂect the changes. In previous versions of the dialog clicking the Open button in conjunction with the Alt/ Option key (the Update button) will update the raw conversion settings for the open image in the same way. Pro’s tip: If the thumbnail doesn’t update automatically, select the picture and then choose Edit > Update Thumbnail in the PhotoBrowser workspace. Skip: In previous versions of Adobe Camera Raw holding down the Shift key whilst clicking the Open button will not apply the currently selected changes and just close the dialog. In this way it is similar to the Cancel button.

3.05 The Conversion process Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

Okay, now that we have a good understanding of the features and controls within the Adobe Camera Raw dialog let’s move on and look at a typical conversion workﬂow.

1. Opening the raw file in the Editor workspace Once you have downloaded your raw files from camera to computer you can start the task of processing. Keep in mind that in its present state the raw file is not in the full color RGB format that we are used to, so the first part of all processing is to open the picture into Adobe Camera Raw. Selecting File > Open from inside Elements will automatically display the photo in this.

2. Starting with the PhotoBrowser Starting in the PhotoBrowser or Organizer workspace simply right-click on the thumbnail of the raw ﬁle and select Full Edit or Go to Standard Edit from the pop-up menu to transfer the ﬁle to the Elements version of ACR in the Editor workspace.

3. Rotate right (90 CW) or left (90 CCW) Once the raw photo is open in ACR you can rotate the image using either of the two Rotate buttons at the top of the dialog. If you are the lucky owner of a recent camera model then chances are the picture will automatically rotate to its correct orientation. This is thanks to a small piece of metadata supplied by the camera and stored in the picture ﬁle that indicates which way is up.

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PROCESSING RAW FILES

session have been removed. To access the Reset button click the Cancel button while holding down the Alt key.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

PROCESSING RAW FILES

4. Preset changes As we have seen you can opt to stay with the settings used at the time of shooting (‘As Shot’) or select from a range of lightsource-speciﬁc settings in the White Balance drop-down menu of ACR. For best results, try to match the setting used with the type of lighting that was present in the scene at the time of capture. Or choose the Auto option from the drop-down White Balance menu to get ACR to determine a setting based on the individual image currently displayed.

5. Manual adjustments If none of the preset white balance options perfectly matches the lighting in your photo then you will need to ﬁnetune your results with the Temperature and Tint sliders (located just below the Presets drop-down menu). The Temperature slider settings equate to the color of light in degrees kelvin – so daylight will be 5500 and tungsten light 2800. It is a blue to yellow scale, so moving the slider to the left will make the image cooler (more blue) and to the right warmer (more yellow). In contrast the Tint slider is a green to magenta scale. Moving the slider left will add more green to the image and to the right more magenta.

7. Setting the white areas To start, adjust the brightness with the Exposure slider. Moving the slider to the right lightens the photo and to the left darkens it. The settings for the slider are in f-stop increments, with a +1.00 setting being equivalent to increasing exposure by 1 f-stop. Use this slider to peg or set the white tones. Your aim is to lighten the highlights in the photo without clipping (converting the pixels to pure white) them. To do this, hold down Alt/Option whilst moving the slider. This action previews the photo with the pixels being clipped against a black background. Move the slider back and forth until no clipped pixels appear but the highlights are as white as possible.

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6. The White Balance tool Another quick way to balance the light in your picture is to choose the White Balance tool and then click on a part of the picture that is meant to be neutral gray. ACR will automatically set the Temperature and Tint sliders so that this picture part becomes a neutral gray and in the process the rest of the image will be balanced. For best results when selecting lighter tones with the tool ensure that the area contains detail and is not a blown or specular highlight.

8. Adjusting the shadows (blacks) The Blacks or Shadows slider performs a similar function with the shadow areas of the image. Again the aim is to darken these tones but not to convert (or clip) delicate details to pure black. Just as with the Exposure slider, the Alt/Option key can be pressed whilst making Shadows adjustments to preview the pixels being clipped. Alternatively the Shadow and Highlights Clipping Warning features (top left and right corners of the histogram) can be used to provide instant clipping feedback on the preview image. Shadow pixels that are being clipped are displayed in blue and clipped highlight tones in red.

PROCESSING RAW FILES

9. Brightness changes The next control, moving from top to bottom of the ACR dialog, is the Brightness slider. At first the changes you make with this feature may appear to be very similar to those produced with the Exposure slider but there is an important difference. Yes, it is true that moving the slider to the right lightens the whole image, but rather than adjusting all pixels the same amount the feature makes major changes in the midtone areas and smaller jumps in the highlights. In so doing the Brightness slider is less likely to clip the highlights (or shadows) as the feature compresses the highlights as it lightens the photo. This is why it is important to set white and black points first with the Exposure and Shadows sliders before fine-tuning the image with the Brightness control.

10. Recovering highlights and shadow detail If the highlights are still being clipped then use the Recovery slider to recreate detail in the problem area. Likewise if the shadow areas are too dark then drag the Fill Light slider to the right to lighten these tones in the photo. Be careful with over-application of either of these controls as it can make the image look low in contrast.

11. Increasing/decreasing contrast The last tonal control in the dialog, and the last to be applied to the photo, is the Contrast slider. The feature concentrates on the midtones in the photo with movements of the slider to the right increasing the midtone contrast and to the left producing a lower contrast image. Like the Brightness slider, Contrast changes are best applied after setting the white and black points of the image with the Exposure and Blacks sliders.

13. Vibrance adjustment Unlike the Saturation slider, which increases the strength of all colors in the photo irrespective of their strength in the ﬁrst place, Vibrance targets its changes to just those colors that are desaturated. Use this control to boost the strength of colors in the photo with less risk of posterized results.

12. Local contrast control The Clarity slider is used to alter the local contrast or the contrast of details within the photo. It works well with photos that have been photographed with diffused light or on a cloudy day. Use Clarity and Contrast sliders together.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

PROCESSING RAW FILES

14. Saturation control The strength or vibrancy of the colors in the photo can be adjusted using the Saturation slider. Moving the slider to the right increases saturation, with a value of +100 being a doubling of the color strength found at a setting of 0. Saturation can be reduced by moving the slider to the left, with a value of -100 producing a monochrome image. Some photographers use this option as a quick way to convert their photos to black and white but most prefer to make this change in Photoshop Elements proper, where more control can be gained over the conversion process with features such as the Convert to Black & White.

15. To sharpen or not to sharpen The latest version of ACR contains four separate sharpening controls. Use the Amount slider to determine the overall strength of the sharpening effect. The Radius is used to control the number of pixels from an edge that will be changed in the sharpening process. The Detail and Masking sliders are both designed to help target the sharpening at the parts of the image that most need it (edges) and restrict the sharpening effects from being applied to areas that don’t (skin tone and smooth graded areas). Moving the Detail slider to the right increases the local contrast surrounding edge areas and therefore enhances the appearance of details. Moving the slider to the left decreases the effect and also reduces the appearance of halos. The Masking control interactively applies an edge locating mask to the sharpening process. A setting of 0 applies no mask and therefore all detail in the photo is sharpened. Moving the slider to the right gradually isolates the edges within the photo until, at a setting of 100, sharpening is only being applied to the most contrasty or dominant edges in the picture.

16. Reducing noise ACR contains two different Noise Reduction controls. The Luminance Smoothing slider is designed to reduce the appearance of grayscale noise in a photo. This is particularly useful for improving the look of images that appear grainy. The second type of noise is the random colored pixels that typically appear in photos taken with a high ISO setting or a long shutter speed. This is generally referred to as chroma noise and is reduced using the Color Noise Reduction slider in ACR. The noise reduction effect of both features is increased as the sliders are moved to the right.

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17. Color depth The section below the main preview window in ACR contains the output options settings. Here you can adjust the color depth (8 or 16 bits per channel) of the processed ﬁle. Earlier versions of Photoshop Elements were unable to handle 16 bits per channel images but the last two releases have contained the ability to read, open, save and make a few changes to these high color ﬁles.

PROCESSING RAW FILES

18. Opening the processed ﬁle in Photoshop Elements The most basic option is to process the raw ﬁle according to the settings selected in the ACR dialog and then open the picture into the Editor workspace of Photoshop Elements. To do this simply select the Open Image button. Select this route if you intend to edit or enhance the image beyond the changes made during the conversion.

19. Saving the processed raw file Users also have the ability to save converted raw files from inside the ACR dialog via the Save Image button. This action opens the Save Options dialog which contains settings for inputting the file name as well as file type-specific characteristics such as compression. Use the Save option over the Open command if you want to process photos quickly without bringing them into the editing space. Pro’s tip: Holding down the Alt key whilst clicking the Save button allows you to store the file (with the raw processing settings applied) without actually going through the Save Options dialog

20. Applying the raw conversion settings There is also an option for applying the current settings to the raw photo without opening the picture. By Clicking the Done button (or Alt-clicking the OK button – holding down Alt key changes the button to the Update button in previous versions of the dialog), you can apply the changes to the original file and close the ACR dialog in one step. The great thing about working this way is that the settings are applied to the file losslessly. No changes are made to the underlying pixels, only to the instructions that are used to process the raw file. When next the file is opened, the applied settings will show up in the ACR dialog ready for fine-tuning, or even changing completely.

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PROCESSING RAW FILES

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

3.06 Keeping ACR up to date Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

The Adobe Camera Raw feature is installed as a plug-in inside Photoshop Elements when you first install the program. Periodically Adobe updates the feature releasing a new version that can be freely downloaded and installed. Typically the updates contain support for the latest digital camera models and occasionally new features and tools are included as well. To download the latest ACR update point your browser to www.adobe.com (specifically http:// www.adobe.com/products/photoshop/cameraRaw.html) and then look for the Adobe Camera Raw update page. Next download the latest version of the utility and install using these steps: 1. If Photoshop Elements is open exit the program. 2. Open the system drive (usually C:). 3. Locate the following directory: Program Files\Adobe\Photoshop Elements 6\ Plug-Ins\File Formats 4. Find the Adobe Camera Raw.8bi file in this folder. 5. Move the plug-in to another folder and note down its new location just in case you want to restore the original settings. 6. Drag the new version of the Adobe Camera Raw plug-in, the Adobe Camera Raw.8bi file (that you downloaded), to the same directory as in Step 3. 7. Restart Photoshop Elements.

3.07 Other Raw plug-ins Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

Often when installing the support software that was supplied with your digital camera an extra Raw utility is installed on your computer. This can mean that after installing the camera drivers you find that you no longer have access to Adobe Camera Raw and that instead the camerabased plug-in keeps appearing when you are attempting to open Raw files. If this occurs and you want to restore ACR as the default Raw utility then you will need to remove the camera-based plug-in from the plug-ins\Adobe Photoshop Elements 6\File Formats folder in Elements and add in the Adobe Camera Raw.8bi instead. This is a problem that is often seen with Nikon users as the NEF.8bi plug-in designed to display and adjust Nikon Raw or NEF files takes precedence over the ACR utility.

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PHOTO ORGANIZATION AND MANAGEMENT

Photo Organization and Management

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PHOTO ORGANIZATION AND MANAGEMENT

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Organizing your photos with Photoshop Elements With no film or processing costs to think about each time we take a picture, it seems that many of us are pressing the shutter more frequently than we did when film was king. The results of such collective shooting frenzies are hard drives all over the country full of photos. Which is great for photography but what happens when you want to track down that once in a lifetime shot that just happens to be one of thousands stored on your machine? Well, believe it or not, being able to locate your files quickly and easily is more a task in organization, naming and camera set up than browsing through loads of thumbnails.

4.01 Add picture details in-camera Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Related techniques – 4.02, 4.03, 4.04, 4.05

Getting those pesky picture files in order starts with your camera set up. Most models and makes have options for adjusting the numbering sequence that is used for the pictures you take. Generally you will have a choice between an ongoing sequence, where no two photos will have the same number, and one that resets each time you change memory cards or download all the pictures. In addition, many models provide an option for adding the current date to the file name, with some including customized comments (such as shoot location or photographer’s name) in the naming sequence or as part of the metadata stored with the file. To adjust the settings on your camera search through the Set Up section of the camera’s menu In-camera labelling >> Most cameras provide options for selecting the way in which files are numbered. The system for headings such as File Numbering and continuous option ensures that a new number is used for each picture even if memory cards are changed in the Custom Comments to locate and change the middle of a shoot. options. Ensure that number sequencing and date inclusion options are switched on and, where available, add these comments along with the photographer’s name and copyright statement to the metadata stored within the picture file.

4.02 Organize photos whilst downloading Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.01, 4.03, 4.04, 4.05

As we saw in the last chapter Photoshop Elements 6 includes the Adobe Photo Downloader utility that moves pictures from your camera or memory card to the computer. As part of the download process, the user gets to select the location of the ﬁles and the way that the ﬁles are to be named and numbered, and automatically stack, tag and apply metadata to the photos. Book resources at: www.adv-elements.com

PHOTO ORGANIZATION AND MANAGEMENT

If your camera doesn’t provide enough Automatic Naming and metadata options to satisfy your needs then use the Elements Photo Downloader feature to enhance your ability to distinguish the current images with those that already exist on your hard drive by setting the location and ﬁlename of the picture ﬁles as you transfer them. Nominate and create a new directory for each session of downloaded photos. Add extra metadata captions, keywords, photographer and copyright details using the tagging options in Elements.

You can select from a range of different naming schemes in the Rename drop-down menu.

PHOTO ORGANIZATION AND MANAGEMENT

It is at this point in the process that you need to be careful about the type of folder or directory structure that you use. Most photographers group their images by date, subject, location or client, but the approach that you employ is up to you. Once you have selected a folder structure though, try to stick with it. Consistency is the byword of photo organization.

Naming via the downloader >> Use the options in the Photo Downloader to thoughtfully locate (1) and name (2), your digital photos.

A variety of names for any subfolders that are created for the downloaded photos can also be selected. Choosing the Custom Groups (Advanced) option redisplays the thumbnails in groups based on setting of the Slider control.

Organize as you download >> The Adobe Photo Downloader allows the user to automatically apply naming changes, metadata, group tags, suggest photo stacks and determine the location where transferred files will be saved. The downloader features provide five different ways to organize your pictures: (1) Locating existing, or creating new, folders for downloading. (2) Renaming pictures with meaningful titles. (3) Suggesting Photo Stack groupings. (4) Applying Group Custom Name as a Tag. (5) Adding custom metadata to the picture file which can be used as search criteria inside the Organizer workspace.

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PHOTO ORGANIZATION AND MANAGEMENT

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Organizing using Photo Browser The Photo Browser mode in the Organizer workspace not only provides thumbnail previews of your photos but the images can be categorized with different Keyword Tags, Notes and Caption entries, split in different Albums (previously Collections) and then searched based on the Keyword Tags, shot date and Metadata associated with each photo. Unlike a traditional browser system, which is folder based (i.e. it displays thumbnails of the images that are physically stored in the folder), the Elements Photo Browser creates a catalog version of the pictures and uses these as the basis for searches and organization. With this approach it is possible for one picture to be a member of many different collections and to contain a variety of different keywords. Adding captions to several photos >> After multi-selecting pictures in the Photo Browser workspace press the Change Caption option located in the Properties palette and then add the new caption in the dialog that is displayed. These captions can be added to or used to replace existing captions.

4.03 Captioning Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.01, 4.02, 4.04, 4.05

Captions are another way to ‘title’ your photos beyond the standard ﬁle name. Adding a meaningful caption provides yet another avenue for searching for individual photos as the Find > Find by Caption or Note feature targets the entries you make here. Captions can also be used, printed or displayed in Photo Projects (but need to be added before starting the creation process) and Online Galleries as well as on contact sheets. In Photoshop Elements 6 captions can be added and used in a range of different ways. Adding a single caption – Captions can be added in the Single Photo View of the Photo Browser, the Properties pane (General tab), via the Add Caption command or in the Caption ﬁeld in the Date View. Adding multiple captions – Multi-select the images to be captioned and press the Change Caption button in the Properties palette, add in the caption details and click OK.

4.04 Naming and renaming Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.02, 4.03, 4.04, 4.05

Along with captioning, adding logical file names to photos is probably the most popular way that photographers organize their pictures. If the downloading utility that you use doesn’t provide the opportunity to rename on-the-fly, the file titles can be changed either individually, via the Name section of the Properties palette, or as a group, using the Editor: File > Rename feature or as a group in the Editor using the File Renaming section of Process Multiple Files (File > Process Multiple Files). Be sure to use a unique name for your photos and preferably one that will help you locate them later. Book resources at: www.adv-elements.com

PHOTO ORGANIZATION AND MANAGEMENT

Changing names >> Rename a ﬁle by selecting its thumbnail in the Photo Browser workspace and then clicking on the General tab in the Properties palette. Type in the new title for the ﬁle in the Name section of the dialog that is displayed.

4.05 Tagging your photos Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.01, 4.02, 4.03, 4.05

In Elements 6 descriptive words can be added to your photos in the form of Keyword Tags. The Keyword Tags panel stores the entries, provides an easy drag and drop approach to adding tags to selected photos and sits on the right of the Photo Browser workspace. The panel is grouped together with the Albums (previously Collections), Quick Share and Properties panels in the new Organize pane. Tags are applied to a picture by selecting and dragging them from the pane onto the thumbnail or alternatively the thumbnail can be dragged directly onto the Tags pane. Multiple Tags can be attached to a single picture by multi-selecting the Tags ﬁrst and then dragging them to the appropriate thumbnail.

FEATURE SUMMARY

1. To add a Tag to a single image click-drag the tag entry from the Keyword Tags panel to the thumbnail image in the browser (Organizer) workspace. 2. To add a single Tag to multiple thumbnails, multi-select the thumbnails in the workspace and then drag the Tag entry from the pane onto one of the selected thumbnails.

Creating new Keyword Tags New Keyword Tags are created and added to the pane by selecting the New Keyword Tag option from the menu displayed after pressing the New button (+ icon) at the top left of the pane. Next, ﬁll out the details of the new entry in the Create Keyword Tag dialog, select a suitable icon for the Keyword Tag label and click OK. The ﬁrst picture that you drag to the new tag determines the thumbnail you see on the Tag. This is the quickest way to add an image to the Tag icon.

Keyword Tags and Albums >> Keyword Tags and Albums (Collections) are used to organize the pictures in the Organizer workspace. One photo can belong to many different Albums and contain multiple Keyword Tags.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

1. To create a new Keyword Tag, select the New Tag option from the New Button (+ icon) menu at the top of the Tags pane.

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FEATURE SUMMARY

2. In the Create Keyword Tag dialog that is displayed, select a category for the Tag, add in a name and include any explanatory notes. 3. Next press the Edit Icon button and import for a picture to include the Tag label before sizing and cropping the photo in the Edit Tag Icon dialog. 4. Click OK to close both dialogs and add the new entry to the Keyword Tag list.

Make a new Tag >> You can add to the existing set of Tags using the New Tag option. There is even an option to add your own pictures as the Tag icon.

4.06 Auto Face Tagging Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.05

First introduced in version 5.0 was the ability to search through a group of photos and automatically select those that contain faces. Using this feature makes it much easier to locate and tag photos of family and friends in the batches of pictures that you import. Start by selecting a group of photos from inside the Organizer workspace. Next, click the Find Faces for Tagging button in the Tags pane. The faces identiﬁed will be displayed in a new dialog box which also includes the Tags pane. From here your Keyword Tags can be quickly dragged onto individual or groups of selected face photos.

FEATURE SUMMARY

1. Multi-select a group of images from inside the Organizer workspace. 2. Either choose Find > Find Faces for Tagging or press the Find Faces for Tagging button at the top of the Keyword Tags pane. 3. Drag Tags onto the pictures that are displayed in the Face Tagging dialog. Click Done to return to the Photo Browser workspace. Tagging by faces >> The Face Tagging option in Elements 6 quickly scans a group of selected photos and identiﬁes those pictures that contain faces then displays these in a separate dialog ready for tagging. (1) Organizer pane.

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4.07 Albums and how to group photos Apart from tagging, Photoshop Elements also uses Albums (previously called Collections) as a way to organize your photos. Albums allow you to group images of a similar theme together in the one place making it easier to locate these images at a later date. After creating an Album in the Albums pane, photos can be dragged from the Photo Browser workspace to the Album heading to be added to the group, or alternatively the Album entry can be dragged to the photo to produce the same result. The Albums feature allows you to allocate the same image to several different groups. Unlike in the old days, this doesn’t mean that the same ﬁle is duplicated and stored multiple times in different folders. Instead the picture is only stored or saved once and a series of Album associations is used to indicate its membership in different groups. When you want to display the contents of an Album just click the entry in the pane and the program searches through its database of collection keywords and only shows those images that meet your search criteria. The Albums pane is the pivot point for all your grouping activities. Here you can view, create, rename and delete Albums. In Elements 6, Albums are part of the Organize pane, which you can show by choosing Window > Show Task Pane then clicking the blue Organize tab. Alternatively, the Task Pane can be hidden or shown by clicking on the vertical resize bar on the left edge of the pane.

Adding photos to an Album

Grouping with Albums >> Sort your pictures into groups of the same subject or theme using the Elements’ Albums feature. (1) Album Pane.

To start using Albums make a new Album entry ﬁrst and then add your photos to it. 1. Start making a new Album by clicking on the New button (+ icon) in the Albums pane and select the New Album menu item. 2. In the Create Album dialog choose the group that the new album will belong to, add the name and include any explanation details for the group. Click OK.

FEATURE SUMMARY

3. Select the photos to be included in the album in the Photo Browser and drag them to the Album heading in the Albums pane. 4. To view all the pictures contained in an album double-click on the Album heading or click near the album’s thumbnail. A Binoculars icon will appear. 5. Single photos or even groups of pictures can be added to more than one album at a time by multi-selecting the album names ﬁrst (use Ctrl–click to multi-select Albums without displaying their contents) before dragging the images to the pane. Book resources at: www.adv-elements.com

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Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.11, 4.12

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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Using Album groups Different albums (and the photos they contain) can also be organized into groups that have a common interest or theme. For instance, albums that contain pictures of the kids, family vacations, birthday parties and mother- and father’s-days events can all be collated under a single ‘Family’ Album Group heading. Create an Album group by selecting the New Album Group option from the New menu (+ icon) in the Album Pane. Next, click-drag existing album entries listed in the pane to the Album Group heading. Alternatively, create the Album Group entry ﬁrst and then create new albums selecting the new Album Group in the Create Album dialog. This will automatically add the new Album under the group heading in the Album pane.

The Album Advantage The advantage of using an album over just viewing tagged ﬁles in the Photo Browser is that ﬁles in an album can be reordered by dragging them. Each member image of the Album is displayed with a small sequence number in the upper left of the thumbnail indicating the position in the Album order. The image sequence arranged in an Album is respected when the photos are used in the production of Elements’ creation projects such as Photo Books, Online Galleries and Slide Shows. Files in the Photo Browser window cannot be reordered in this way.

Sequencing with Albums >> Placing images in an Album has the advantage that the photos can be arranged in a set sequence. The power of this ability is that the order is respected when the photos are incorporated into Elements projects.

4.08 Using Smart Albums Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.06, 4.7

Adobe introduces a new album type in Photoshop Elements 6 called Smart Albums. Images are included in a Smart Album based on one or more search criteria established at the time that the album is created. Each time the Smart Album entry is selected Elements automatically adds any new photos that meet the criteria to the group. Smart Albums are a great way to keep important collections of images up to date without the need to manually ﬁnd and add images to the album. You can create Smart Albums either via the New Smart Album entry in the new album pop-up menu (click the ‘+’ button at the top of the panel to display), or by executing a search using the Find > By Details (Metadata) feature. Both avenues provide the user with the chance to choose the search criteria used for the basis of the Smart Album. With the Find > By Details option, it is Book resources at: www.adv-elements.com

PHOTO ORGANIZATION AND MANAGEMENT

Establishing search criteria The idea of setting up specific search criteria as the basis of creating a Smart Album may seem a little daunting, but the range of possibilities included in the search dialog, either New Smart Album, or the Find by Details, makes the process as simple as selecting options from several drop-down menus. With the dialog open, start by choosing if the photos need to contain any, or all, of the search criteria to be included in the album. Obviously for single criteria searches this isn’t an issue, but the dialog allows the user to add several criteria (click the ‘+’ button at the right end of the criteria entry) for searching. Next, create the basis for the search by selecting the criteria. There are no less than 30 different criteria that can be used for the search. These include most camera settings (sometimes called EXIF data) such as lens, ISO, F-stop and Shutter Speed, individual photo details including file size, pixel dimensions and filename as well as Elements specific criteria like keyword tags, project name, version set, project type or even map location. Once you are comfortable with creating search criteria the Figure 14.10 To set up the search whole Smart Album system provides a very powerful and efficriteria used for a Smart Album pick the cient way to locate and manage groups of images in your catalog. matching option first (1) and then the criteria from the drop-down menus (2).

Creating a new Smart Album There are three ways to create Smart Albums in Elements. The ﬁrst is via the options in the Album panel. 1. Start by selecting the New Smart Album entry from the menu displayed by clicking on the ‘+’ button in the Albums panel. 2. Next, add in a name for the album in the text box at the top of the New Smart Album dialog. 3. Choose how the ﬁles will match the criteria. You can select between matching any of the criteria or all of the criteria.

FEATURE SUMMARY

4. Now start with the drop-down menu on the left of the dialog and select the criteria group to use for the search, i.e. Filename, Project Name, Keyword Tags, Camera Model, etc. 5. Depending which entry you choose in the ﬁrst menu the number of menus (and their content) on the right will change accordingly. The entries in these menus are designed to reﬁne the search. For instance, if you choose the Project Type as your main search criteria then you will have a second menu containing Gallery, Photo Book and Slideshow. 6.

With one criteria established you can add other criteria by clicking the ‘+’ button on the right of the Search entry. This displays a new search criteria menu set. Book resources at: www.adv-elements.com

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necessary to select the Save this Search Criteria as Smart Album setting at the bottom of the dialog before starting the search.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

FEATURE SUMMARY

The second way to create Smart Albums in Elements is to use the search abilities in the Find > By Details (Metadata).

Collections and Tagging strategies:

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Using Find to make Smart Albums

1. Select the By Metadata entry from the Find menu to display the Find by Details dialog. Input the match option and search criteria in the same way as outlined in steps 3–6 above. 2. Next, select the Save this Search Criteria as Smart Album option at the bottom of the dialog. This makes the Name text box active. Add a title for the New Smart Album here.

The best way that you choose to make use of the Keyword Tagging and Album features in Elements will depend a great deal on the way that you work, the pictures you take and the type of content that they include, but here a few different proven methods that you can use as a starting point. Subject: Photos are broken down into subject groups using headings such as family, friends, holidays, work, summer, night shots, trip to Paris, etc. This is the most popular and most applicable approach for most readers and should be the method to try ﬁrst. Time line: Images are sorted and stored based on their capture date (when the picture was photographed), the day they were downloaded or the date that they were imported into the organizational package. This way of working links well with the auto ﬁle naming functions available with most digital cameras but can be problematic if you can’t remember the approximate dates that important events

occurred. Try using the date approach as a subcategory for subjects headings, e.g. Bill’s Birthday > 2005. File type: Image groups are divided into different file type groups. Although this approach may not seem that applicable at first glance it is a good way to work if you are in the habit of shooting RAW files which are then processed into PSD files before use. Project: This organizational method works well for the photographer who likes to shoot to a theme over an extended period of time. All the project images, despite their age and file type, are collated in the one spot making for ease of access. Client or Job: Many working pros prefer to base their filing system around the way that their business works, keeping separate groups for each client and each job undertaken for each client.

4.09 Changing your view Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic Related techniques – 4.09

Your photos can be viewed in a range of different ways in the Organizer or Photo Browser workspace. The standard view (Photo Browser View) displays the pictures as a series of thumbnails in a ‘rows and columns’ format. You can sort the sequence of the photos according to date and import batch or folder location using the drop-down menu at the bottom left of the workspace. It is also possible to display only those images with a speciﬁc associated Tag or belonging to a particular collection by double-clicking on the entry in Keyword Tags or Albums or clicking on the column on the left of the palette. Book resources at: www.adv-elements.com

Selecting the View >> Choosing one of the options from the dropdown Display menu at the end of the Photo Browser options bar, determines how the pictures are presented in the workspace.

PHOTO ORGANIZATION AND MANAGEMENT

The View Photos in Full Screen option provides an instant slide show of the files that you have currently displayed in the Photo Browser. Seeing the photos full size on your machine is a good way to edit the shots you want to keep from those that should be placed in the ‘I will remember not to do that next time’ bin. With the provided menu you can play, pause, or advance to next or last photos, using the VCR-like controls. You can enlarge or reduce the size that the picture appears on screen with the Magnification slider (Zoom Level control). For quick magnification changes there are also ‘Fit to Window’ and ‘Actual Pixels’ buttons. But the real bonus of the feature is the list of actions that you can perform to pictures you review. You can automatically enhance, add and remove tags, mark the file for printing and add the file to a chosen collection using the choices listed under the Action menu. Specific picture properties such as Tag, History, and Metadata are available by hitting the Alt + Enter keys to display the properties window. As well as showing all the photos currently in the browser you can also multi-select the images to include in the review session before starting the feature, or even limit those pictures displayed to a particular collection. The Full Screen View options can be set when the feature is first opened or accessed via the last item on the Action menu. Closely linked to the View Photos in Full Screen feature detailed above is the Compare Photos Side by Side option which allows users to display two similar pictures side by side. This is a great way to choose

PHOTO ORGANIZATION AND MANAGEMENT

Another option is to view the photos in Date View mode. Here the images are also grouped and displayed based on the date they were taken, but they are shown in a calendar format. You can choose a year-, month- or day-based calendar with each view containing a slide show feature that will automatically ﬂick through all the photos taken on a speciﬁc date. Pictures displayed in Date View can be edited, printed, shared and included in Photo Creation projects by clicking one of the shortcut buttons at the top of the screen.

Photo Browser View >>

Date View >>

View Photos in Full Screen mode >>

Compare Photos Side by Side mode >>

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between several images taken at the same time to ensure that the best one is used for printing or passed on to the Editor for enhancement. To select the images to display click onto one of the compare workspaces and then click on a thumbnail. Now select the other workspace and click the comparison image thumbnail. Pressing the X key switches the photos in the display so that you can always keep the best images on the left of the screen as you ﬂip through other photos on the right. All the same Full Screen adjustment and organizational controls are available in the Compare Photos feature, including the Zoom Control which provides the ability to examine candidate ﬁles more closely.

Locate by ﬁlename >> When choosing the Date Range, Caption or Note, Filename (see above), History, and Details ﬁnd options Elements displays a new dialog into which your search criteria can be entered. Find options >> The Find menu in the Photo Browser workspace lists the many different ways to locate images within Elements.

4.10 Locating ﬁles Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.08

One of the great benefits of organizing your pictures in the Photo Browser workspace is the huge range of search options that then become available to you. In fact there are so many search options that Adobe created a new menu heading ‘Find’ specifically to hold all the choices. Here you will be able to search for your photos based on a selected date range, filename, caption, media type (video, photo, audio or creation), history (when an item was emailed, printed, received, imported, used in a creation project or even shared on-line) and even by the predominant color in the photo. After selecting one of the Find menu options Elements either displays files that meet the search criteria in a new view of the same window (Find by Version Sets, Media Type, Untagged Items) or opens a new dialog where the user must enter specific details (dates, filenames, details, captions) which will be used to base the search.

Locate tagged photos >> To display all images tagged with a speciﬁc entry, click the Tag name in the Tags pane. Return the view to the whole collection by clicking the Show All photos button (1).

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Finding tagged photos or those contained in an Album

To ﬁnd tagged photos: Click the Keyword Tag entry in the Keyword Tags pane. To display all the images in a collection: Click on the Album entry in the Albums pane or click on the column on the left of the pane. This will display the Binoculars icon. To return the browser back to the original catalog of thumbnails: Click on the Show All Photos button at the top of the thumbnail group.

Finding Albums >> To show all the photos in an album click the Album name in the Album Pane. Again, press the Show All Photos button to return to the catalog (1).

Find by details or metadata Version 6 of Elements also contains a Find option that is designed to allow users to search the details or metadata that is attached to their picture files. Most digital cameras automatically store shooting details from the time of capture within the photo document itself. Called metadata, you can view this information by clicking the Metadata button inside the Properties palette. The Find > By Details (Metadata) option displays a sophisticated Search dialog that allows you to nominate specific criteria to use when looking within the metadata portion of the picture file. The dialog provides a section to input the text to search for as well as two drop-down menus where you can set where to look (Filename, Camera Make, Camera Model, Capture Date, etc.) and how to match the search text (Starts with, Ends with, Contains, etc.). Beyond camera-based metadata you can also use this dialog to search for any Captions, Notes, Keyword Tags or Albums that you have applied to your pictures. 1. Select Find > By Details (Metadata) from the Photo Browser workspace.

FEATURE SUMMARY

2. Choose the type of details that you are looking for – Filename, Camera Make, Camera Model, etc. from the drop-down list in the Find by Details dialog. 3. Enter the text you want to search for (if needed). 4. Enter how the search text should appear in the located ﬁles (contained, not contained, etc.) Book resources at: www.adv-elements.com

PHOTO ORGANIZATION AND MANAGEMENT

As well as the search options located in the Organizer: Find menu, you can make use of the Keyword Tags and Albums features to quickly locate and display sets of photos from your catalog.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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Find using details >> The Find by Details feature allows you to customize the search options used via settings within the dialog. Choosing the type of detail to look for from the drop-down list (1) determines the contents of the rest of the dialog. In this instance selecting ‘Filename’ displays a second list (2) describing how to match the text you input (3). Extra search criteria can be added or removed by pressing the Plus or Minus buttons to the right of the dialog (4).

Protecting your assets Ensuring that you keep up-to-date duplicates of all your important pictures is one of the smartest work habits that the digital photographer can learn. Ask yourself ‘What images can’t I afford to lose – either emotionally or ﬁnancially?’ The photos you include in your answer are those that are in the most need of backing up. If you are like most image-makers then every picture you have ever taken (good and bad) has special meaning and therefore is worthy of inclusion. So let’s assume that you want to secure all the photos you have accumulated.

Backup files >> The first screen of the Elements’ Backup feature contains the choice of two different actions: (1) Full Backup – This option is for first time use. It will create an archive for the full catalog. (2) Incremental Backup – Once you have created a full backup then it is only necessary to copy changed or new files to the backup in order to keep the archive current. The incremental option is designed specifically for this purpose.

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4.11 Creating a backup Gone are the days when creating a backup of your work involved costly tape hardware and complex server software. Now you can archive your pictures from inside the very software that you use to enhance them – Photoshop Elements. The Backup feature (Organizer: File > Backup Catalog to CD, DVD or Hard Drive) is designed for copying your pictures (and catalog ﬁles) onto DVD, CD or an external hard drive for archiving purposes. To secure your work simply follow the steps in the wizard. The feature includes the option to backup all the photos you currently have catalogued in the Photo Browser and then just copy changed ﬁles for successive backups.

PHOTO ORGANIZATION AND MANAGEMENT

Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.11

FEATURE SUMMARY

1. To start the backup process select File > Backup Catalog to CD, DVD or Hard Drive from the Photo Browser workspace. 2. At the next screen choose Full Backup for first time archiving or Incremental Backup for all backups after the first one. Click Next. 3. And finally select the place where you want the backup to be stored. This may be on a series of CDs or DVDs, an internal or external drive. Then click Done to backup your files.

Backup glossary: Multi-disk archive – A process, often called spanning, by which chunks of data that are larger than one disk can be split up and saved to multiple CD-ROMs or DVDs using spanning software. The ﬁles can be recompiled later using utility software supplied by the same company that wrote the disks.

CD-ROM or DVD writer – This option is very economical when coupled with writing software that is capable of writing large numbers of ﬁles over multiple disks. The sets of archive disks can easily be stored off site ensuring you against theft and ﬁre problems but the backup and restore process of this approach can be long and tedious.

Full backup – Duplicates all ﬁles even if they haven’t changed since the last time an archive was produced.

Internal hard drive – Adding an extra hard drive inside your computer that can be used for backing up provides a fast and efficient way to archive your files but won’t secure them against theft, fire or even some electrical breakdowns such as power surges.

Incremental – Backs up only those files that have changed since the last archive was produced. This makes for faster backups but means that it takes longer to restore files as the program must look for the latest version of files before restoring them. Restore – Reinstates files from a backup archive to their original state on your hard drive.

External hard drive – Connect via USB or Firewire, these external self-contained units are both fast and efﬁcient and can also be stored off site providing good all-round protection. Some, like the Maxtor One Touch models, are shipped with their own backup software. Keep in mind that these devices are still mechanical drives and that care should be taken when transporting them.

Backup hardware:

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Backup regularly There is no point having duplicate versions of your data if they are out of date. Base the interval between backups on the amount of work you do. In heavy periods when you are downloading, editing and enhancing many images at a time backup more often; in the quieter moments you won’t need to duplicate ﬁles as frequently. Most professionals backup on a daily basis or at the conclusion of a work session.

Store the duplicates securely

Multi-disk and multi-session backups

In ensuring the security of your images you will not only need to protect you photos from the possibility of a hard drive crash but also from such dramatic events as burglary and fire. Do this by storing one copy of your files securely at home and an extra copy of your archive disks or external backup drives somewhere other than your home or office. I know that this may sound a little extreme but swapping archive disks with a friend who is just as passionate about protecting their images will prove to be less painful than losing all your hard work.

From version 5.0 the Backup Catalog feature was enhanced so that it was possible to archive your catalog over a series of CD or DVD disks. In previous versions, the Backup feature only allowed writing to a single disk and even with the growing use of DVD-ROMs for archive scenarios, many digital photographers have a catalog of photos that far exceeds the space available on a single disk. In 5.0/6 the feature can estimate the space required for creating the backup copy of the catalog and, after selecting the drive that will be used for archiving, the feature also determines the number of disks required to complete the

action. During the writing process the feature displays instruction windows at the end of writing each disk and when you need to insert a new disk. All disks need to be written for the backup to be complete. To restore a catalog from a set of backup disks use the File > Restore Catalog from CD, DVD or Hard Drive option in the Organizer workspace. The backup feature also allows multi-session recording of archives. Multi-session DVD or CD-ROM recording means that you can add extra backup ﬁles to disks that you have already recorded to. Most Elements users will ﬁnd this useful when performing incremental backups. Unfortunately the online archive option that was included with version 5.0, called Online Backup; is no longer available. Elements users can still take advantage of the web-based backup services offered by IronMountain.com to archive their photos but from outside the program.

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4.12 Versioning your edits Creating a good archival system goes a long way to making sure that the images you create are well protected, but what about the situation where the original photo is accidentally overwritten as part of the editing process? Embarrassing as it is, even I have to admit that sometimes I can get so involved in a series of complex edits that I inadvertently save the edited version of my picture over the top of the original. For most tasks this is not a drama as the edits I make are generally non-destructive (applied with adjustment layers and the like) and so I can extract the original file from inside the enhanced document but sometimes, because of the changes I have made, there is no way of going back. The end result of saving over the original untouched digital photo is equivalent to destroying the negative back in the days when film was king. Yep, photographic sacrilege! So you can imagine my relief to find that in the last few versions of Photoshop Elements Adobe have included a technology that protects the original file and tracks the changes made to the picture in a series of successively saved photos. The technology is called Versioning as the software allows you to store different versions of the picture as your editing progresses. What’s more, the feature provides options for viewing and using any of the versions that you have previously saved. Let’s see how this file protection technology works in practice.

Versions and Photoshop Elements Versioning extends the idea of Elements image stacks by storing the edited version of pictures together with the original photo in a special Version Set. All photos enhanced in the Photo Browser space using a tool like Auto Smart Fix are automatically included in a Version Set. Those images saved in the Quick, Guided and Full Edit workspaces with the Save As command can also be added to a Version Set by making sure that the Save in Version Set with Original option is ticked before pressing the Save button in the dialog. Saving in this way means that edited files are not saved over the top of the original; instead a new version of the image is saved in a Version Set with the original. It is appended with a file name that has the suffix ‘_edited’ attached to the original name. This way you will always be able to identify the original and edited files. The two files are ‘stacked’ together in the Photo Browser with the most recent file displayed on top.

Save a version from Editor >> To create a Version Set when saving an edited ﬁle from inside the Quick Fix or Full Edit workspace make sure that the ‘Save a Version Set with Original’ option is selected.

Version Set icon >> The Bundled photos icon at the top right of the thumbnail shows that the photo is part of a version set.

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Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic | Related techniques – 4.07, 4.12

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Displaying Version Set photos >> Selecting the Version Set > Expand Items in Version Set option from the right-click menu (context menu) displays the various pictures that have been bundled together in the set. Alternatively you can click the Expand/Collapse arrow on the right of the version set.

When a photo is part of a Version Set, there is a small icon displayed in the top right of the Photo Browser thumbnail. The icon shows a pile of photos and a paint brush. To see the other images in the Version Stack simply right-click the thumbnail image and select Version Set > Expand Items in Version Set or click on the Expand/Collapse arrow button on the right of the version set thumbnail. Using the other options available in the right-click pop-up menu the sets can be expanded or collapsed, the current version reverted back to its original form or all versions ďŹ&#x201A;attened into one picture. Version Set options are also available via the Photo Browser Edit menu. Unlike Stacks, you cannot add other images to a Version Set as the set only contains edits of the same image.

Elementsâ&#x20AC;&#x2122; Image Stacks >> To group alike photos into an Image Stack, multi-select the pictures in the Photo Browser workspace before choosing Stack > Stack Selected Photos from the right-click menu. To display stacked photos either click the sideways arrow on the right of the thumbnail or choose Expand Photos in the Stack from the Stack heading in the right-click menu.

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4.13 Creating Image Stacks PHOTO ORGANIZATION AND MANAGEMENT

Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic Related techniques – 4.07, 4.11

An Image Stack is slightly different from a Version Set as it is a set of pictures that have been grouped together into a single place in the Organizer workspace. Most often Stacks are used to group pictures that have a common subject or theme and the feature is one way that Elements users can sort and manage their pictures. To create a Version Stack, multi-select a series of thumbnails in the workspace then right-click on one of the selected images to show the menu and from here select the Stack > Stack Selected Photos option. The thumbnail you right-click on will be the top photo in the stack. You can identify stacked image groups by the small icon in the top right of the thumbnail.

Image Stacks icon >> Image Stacks use a Layered Photos icon in the top right of the thumbnail to indicate that the picture is one of several images that have been grouped.

Auto photo stacking The idea of grouping together like photos in a single stack was introduced in version 3.0 of the program. Version 5.0 introduced the ability to auto stack images as they are downloaded from camera, imported into Elements from folders or even when displayed in the Organizer workspace. The feature searches for similar images, either visually similar, or multiple photos taken within a short period of time, and then assembles these in groups in the ‘automatically suggest photo stacks’ window. From here you can choose to remove selected photos from a group or even remove a group all together from the window. Once you have ﬁne-tuned which photos to include, clicking the Stack All Groups button will create Photo Stacks from all the groups in the window. To auto stack pictures that are already in your catalog select a group of thumbnails ﬁrst and then choose Automatically Suggest Photo Stacks from either the Edit > Stack or the right-click pop-up menus. Alternatively, to stack when importing pictures from a folder, camera or card reader choose the Automatically Suggest Photo Stacks option in the Get Photos or Adobe Photo Downloader dialog.

Auto stack whilst downloading >> The Advanced dialog of the Adobe Photo Downloader contains the Automatically Suggest Photo Stacks option so you can group alike images as you transfer your ﬁles from camera to computer.

Book resources at: www.adv-elements.com

PHOTO ORGANIZATION AND MANAGEMENT

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Either of these two options will then display a new window with alike pictures pre-grouped. Choosing the Stack All Groups button converts the groups to stacks. The Remove Group or Remove Selected Photos buttons prevent individual images or group of pictures being made into a stack.

Stacking cataloged photos >> To employ the Auto Stacking feature with photos that you have already cataloged, start by multi-selecting several images in the Photo Browser workspace. Next right-click one of the pictures and choose Stack > Automatically Suggest Photo Stacks from the pop-up menu. Elements will then display a window containing groups of photos that are suitable for converting into Photo Stacks. You can remove images from groups by selecting the photo and then pressing the Remove Selected Photos button at the bottom left of the dialog. Stop speciďŹ c groups from being converted to a Photo Stack by clicking on the Remove Group button at the top right of each group section. Finally, press the Stack All Groups button to convert the groups to Photo Stacks and show these in the Photo Browser. You can edit the groups by clickdragging photos between different groups or within the same group. The left-most thumbnail will be the top photo in that stack.

Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

Pathways to Editing in Elements

Book resources at: www.adv-elements.com ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

109

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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Auto editing summary:

Editing Options:

PATHWAYS TO EDITING IN ELEMENTS

110

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s¬-ANUAL¬CROPPING¬ s¬#HANGES¬APPLIED¬ AUTOMATICALLY s¬.EW¬USERS¬START¬HERE¬ FOR¬GOOD ¬QUICK¬ RESULTS¬ s¬!UTOMATIC¬CONTROL¬OF ¬ CONTRAST ¬COLOR ¬ SHADOW¬AND¬ HIGHLIGHT¬DETAIL¬AND¬ SHARPNESS ¬

Automatic editing options

Right-click menu

Photo Browser workspace

¬!UTO EDITING¬OPTIONS¬ The range of auto enhance options have been expanded for version 6 of Photoshop Elements and now includes Auto Color, Auto Levels, Auto Contrast and Auto Sharpen options along with Auto Smart Fix and Auto Red Eye Fix features found in the previous version. The features are grouped in the new Fix panel and include Rotate buttons and a new Crop option.

Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

5.01 Auto Smart Fix

111

Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic Related techniques â&#x20AC;&#x201C; 5.02, 5.03

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5.02 Auto Red Eye Fix Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic Related techniques â&#x20AC;&#x201C; 5.01, 5.03

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5.03 New auto options for version 6

ÂŹ!UTOÂŹ3MARTÂŹ&IXÂŹ The Auto Smart Fix feature enhances color, brightness, shadow and highlight detail automatically.

ÂŹ!UTOÂŹ2EDÂŹ%YEÂŹ&IXÂŹ The Auto Red Eye Fix feature searches for and corrects the red eyes caused by on-camera ďŹ&#x201A;ash.

Quick guide to the Fix panelâ&#x20AC;&#x2122;s auto enhance features

Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 DifďŹ culty level â&#x20AC;&#x201C; Basic | Related techniques â&#x20AC;&#x201C; 5.01, 5.02

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Correction needed

Feature to use

Low contrast problem

Auto Contrast

High contrast problem

Auto Contrast

Color cast problem

Auto Color Correction or Auto Levels

Color cast and contrast problem

Auto Levels

Sharpness or clarity problem

Auto Sharpen

Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

112

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Auto Contrast JT EFTJHOFE UP DPSSFDU JNBHFT UIBU BSF FJUIFS UPP DPOUSBTUZ CMBDL BOE XIJUF PS UPP n BU EVMM BOE MJGFMFTT 6OMJLF UIF "VUP -FWFMT GFBUVSF "VUP $POUSBTU FOTVSFT UIBU UIF CSJHIUFTU BOE EBSLFTU QJYFMT JO UIF QJDUVSF JSSFTQFDUJWF PG UIFJS DPMPST BSF DPOWFSUFE UP QVSF XIJUF BOE CMBDL *O EPJOH TP BMM UIF UPOFT JO CFUXFFO BSF FYQBOEFE PS DPOUSBDUFE UP m U Auto Color DPODFOUSBUFT PO DPSSFDUJOH UIF DPMPS JO UIF NJEUPOFT PG UIF QJDUVSF BOE BEKVTUJOH UIF DPOUSBTU CZ SFBTTJHOJOH UIF CSJHIUFTU BOE EBSLFTU QJYFMT UP XIJUF BOE CMBDL Auto Levels JT TJNJMBS UP "VUP $POUSBTU JO UIBU JU NBQT UIF CSJHIUFTU BOE EBSLFTU QBSUT PG UIF JNBHF UP XIJUF BOE CMBDL CVU EJGGFST JO UIBU FBDI JOEJWJEVBM DPMPS DIBOOFM JT USFBUFE TFQBSBUFMZ *O UIF QSPDFTT PG NBQQJOH UIF UPOFT BEKVTUJOH UIF DPOUSBTU JO UIF SFE HSFFO BOE CMVF DIBOOFMT EPNJOBOU DPMPS DBTUT DBO CF OFVUSBMJ[FE Auto Sharpen BQQMJFT B TFU BNPVOU PG TIBSQFOJOH UP UIF QIPUP .PTU QIPUPHSBQIFST QSFGFS UP CF BCMF UP BEKVTU UIF EFHSFF PG TIBSQFOJOH UIBU JT BQQMJFE UP UIFJS JNBHFT BOE TP XPVME BWPJE VTJOH UIJT BVUP GFBUVSF JO GBWPS PG B NPSF NBOVBM BQQSPBDI JOWPMWJOH UIF &EJUPS &OIBODF "EKVTU 4IBSQOFTT m MUFS 4PNFUJNFT TVDI BVUPNBUJD m YFT EP OPU QSPEVDF UIF SFTVMUT UIBU ZPV FYQFDU *O UIFTF TDFOBSJPT VTF UIF 6OEP &EJU 6 OEP DPNNBOE UP SFWFSTF UIF DIBOHFT BOE USZ POF PG UIF NBOVBM DPSSFDUJPO UPPMT EFUBJMFE JO UIF OFYU TFDUJPO

Â¬!UTOÂ¬OPTIONSÂ¬ALSOÂ¬ FOUNDÂ¬INÂ¬%DITÂ¬ The Fix panelâ&#x20AC;&#x2122;s auto features can also be found in the Enhance menu of the Full Edit or Quick Fix workspaces.

Book resources at: www.adv-elements.com

Â¬!UTOÂ¬OPTIONSÂ¬EXAMPLESÂ¬ (a) Original uncorrected image. (b) After applying Auto Levels. (c) After applying Auto Contrast. (d) After applying Auto Color Correction. (e) After Auto Color and Auto Sharpen

PATHWAYS TO EDITING IN ELEMENTS

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5.04 Processing multiple ﬁles Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic Related techniques – 5.05, 5.06

1IPUPTIPQ &MFNFOUT VTFST BSF BCMF UP BVUPNBUF B WBSJFUZ PG FEJUJOH GVODUJPOT XJUI UIF 1SPDFTT .VMUJQMF 'JMFT GFBUVSF MPDBUFE JO UIF 'JMF NFOV PG UIF 'VMM &EJU XPSLTQBDF 5IF GFBUVSF JT MJLF B EFEJDBUFE CBUDI QSPDFTTJOH UPPM UIBU DBO OBNF TJ[F FOIBODF MBCFM BOE TBWF JO B TQFDJm D m MF GPSNBU B HSPVQ PG QIPUPT TUPSFE JO B GPMEFS PS TFMFDUFE WJB UIF m MF CSPXTFS PS 0QFO 'JMFT 5IF EJBMPH T PQUJPOT JODMVEF Source o 'JMFT UP CF QSPDFTTFE DBO CF TUPSFE JO B TJOHMF GPMEFS UIF m MFT DVSSFOUMZ PQFO JO UIF XPSLTQBDF QJDUVSFT JO UIF 1SPKFDU #JO PS JNBHFT NVMUJ TFMFDUFE JO UIF m MF CSPXTFS Destination o 4FUT UIF MPDBUJPO XIFSF QSPDFTTFE m MFT XJMM CF TBWFE File naming o 0QUJPOT GPS OBNJOH PS SFOBNJOH PG TFMFDUFE m MFT JODMVEJOH B SBOHF PG QSFTFU OBNJOH TUZMFT Image Size o 4QFDJGZ TJ[F BOE SFTPMVUJPO DIBOHFT BGUFS DIPPTJOH UIF VOJU PG NFBTVSF UP XPSL XJUI GSPN UIF ESPQ EPXO NFOV 1SPQPSUJPOT DBO CF DPOTUSBJOFE File type o 4FMFDU UIF m MF GPSNBU UIBU QSPDFTTFE m MFT XJMM CF TBWFE PS DPOWFSUFE UP Quick Fix enhancement o 6TF UIF PQUJPOT IFSF UP BQQMZ BVUPNBUJD FOIBODFNFOU PG UIF m MFT CFJOH QSPDFTTFE Add Labels o "EE DBQUJPO PS m MF OBNF MBCFMT UP FBDI PG UIF QSPDFTTFE m MFT "MTP DPOUBJOT BO PQUJPO GPS XBUFSNBSLJOH UIF QJDUVSFT

¬"ATCH¬PROCESSING¬OF¬l¬LES¬ ¬ Elements users can automate the application of basic enhancement and editing features to a group of ﬁles using the Process Multiple Files feature located in the Full Edit workspace.

"GUFS TFUUJOH UIF PQUJPOT GPS FBDI PG UIF TFDUJPOT JO UIF EJBMPH QSFTT UIF 0, CVUUPO UP QSPDFTT UIF QJDUVSFT Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

Automating editing of several pictures at once

113

PATHWAYS TO EDITING IN ELEMENTS

114

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

5.05 Multi-selection editing Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Related techniques â&#x20AC;&#x201C; 5.04, 5.06

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Keystrokes for fast edits of multi-selected photos Rotate Photos 90Â° Left o $USM -FGU

Auto Smart Fix o $USM "MU .

Rotate Photos 90Â° Right o $USM 3JHIU

Auto Red Eye Fix o $USM 3

ÂŹ!UTOÂŹENHANCEÂŹSEVERALÂŹlÂŹLESÂŹ The editing and enhancement options located on the right-click menu or the new Fix panel in the Photo Browser workspace can be just as easily applied to several photos that have been multiselected as to a single picture. This method is a quick and easy means of making automatic changes to a group of photos.

5.06 Bulk Red Eye ďŹ xing Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic Related techniques â&#x20AC;&#x201C; 5.04, 5.05

"T XFMM BT CFJOH BCMF UP BQQMZ UIF "VUP 3FE &ZF 'JY GFBUVSF UP JOEJWJEVBM QIPUPT UIJT DPSSFDUJPO PQUJPO JT BMTP BWBJMBCMF JO UIF "EPCF 1IPUP %PXOMPBEFS EJBMPH 4P OPX JU JT QPTTJCMF UP EPXOMPBE QJDUVSFT GSPN ZPVS DBNFSB PS JNQPSU UIFN GSPN B GPMEFS BOE BU UIF TBNF UJNF CF TFBSDIJOH UIF JNBHFT GPS SFE FZF BOE DPSSFDUJOH JU XIFO JU JT QSFTFOU 5IJT JT B HSFBU UJNF TBWFS JG ZPV SFHVMBSMZ QIPUPHSBQI XJUI PO DBNFSB n BTI CVU BT BMXBZT GPS UIF BCTPMVUF CFTU SFTVMUT BQQMZ UIF 3FE &ZF 'JY ZPVSTFMG NBOVBMMZ Book resources at: www.adv-elements.com

ÂŹ!UTOÂŹ2EDÂŹ%YEÂŹ&IXÂŹ ÂŹ The Auto Red Eye ďŹ x option is also available in dialogs that are used to import or download pictures onto your computer. Selecting this option instructs Elements to search and correct any occurrence of red eye in the photos you are loading into the Organizer workspace.

PATHWAYS TO EDITING IN ELEMENTS

5IF TFDPOE MFWFM PG GFBUVSFT TJUT JO UIF NJEEMF HSPVOE CFUXFFO UPUBM VTFS DPOUSPM BOE UPUBM QSPHSBN DPOUSPM PWFS UIF FEJUJOH SFTVMUT 5IF UPPMT JO UIJT HSPVQ BSF QSJNBSJMZ BWBJMBCMF JO UIF 2 VJDL 'JY FEJUPS CVU BMTP FODPNQBTT TPNF PG UIF NPSF BVUPNBUJD PS FBTZ UP VTF DPOUSPMT BWBJMBCMF JO UIF ' VMM &EJU XPSLTQBDF .PWF UP UIFTF UPPMT PODF ZPV GFFM NPSF DPOm EFOU XJUI UIF EJHJUBM QIPUPHSBQIZ QSPDFTT BT B XIPMF EPXOMPBEJOH NBLJOH TPNF DIBOHFT TBWJOH BOE UIFO QSJOUJOH BOE m OE ZPVSTFMG XBOUJOH UP EP NPSF XJUI ZPVS QJDUVSFT "HBJO GPS UIF BEWBODFE VTFS UIF UPPMT MJTUFE IFSF XJMM QSPWJEF B EFHSFF PG GSVTUSBUJPO BT UIF BNPVOU PG DPOUSPM PWFS UIF SFTVMUT JT TUJMM MJNJUFE

PATHWAYS TO EDITING IN ELEMENTS

Semi-automatic editing

115

5.07 Using the Quick Fix Editor Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Basic Related techniques – 5.08, 5.09

5IF 2 VJDL 'JY &EJUPS DPOUBJOT B SFEVDFE UPPM GFBUVSF TFU EFTJHOFE UP GBDJMJUBUF UIF GBTU BQQMJDBUJPO PG UIF NPTU GSFRVFOU PG BMM FOIBODFNFOU BDUJWJUJFT VOEFSUBLFO CZ UIF EJHJUBM QIPUPHSBQIFS 5IF ;PPN )BOE $SPQ BOE 3FE &ZF 3FNPWBM UPPMT BOE UIF 2VJDL 4FMFDUJPO 5PPM BOE 4FMFDUJPO #SVTI BSF MPDBUFE JO B TNBMM UPPMCBS UP UIF MFGU PG UIF TDSFFO BOE BSF BWBJMBCMF GPS TUBOEBSE JNBHF FEJUJOH DIBOHFT UIF m YFE 1BMFUUF #JO UP UIF SJHIU DPOUBJOT UIF OFDFTTBSZ GFBUVSFT UP BMUFS BOE DPSSFDU UIF MJHIUJOH DPMPS BOE TIBSQOFTT PG ZPVS QJDUVSFT 3PUBUF CVUUPOT BSF MPDBUFE BU UIF CPUUPN PG UIF EJBMPH

5IF BEKVTUNFOU GFBUVSFT BSF BSSBOHFE JO B GBTIJPO UIBU QSPWJEFT B NPEFM FOIBODFNFOU XPSLn PX UP GPMMPX o TJNQMZ NPWF GSPN UIF UPQ UP UIF CPUUPN PG UIF UPPMT TUBSUJOH XJUI TNBSU m YJOH BOE SFE FZF DPSSFDUJPO XPSLJOH UISPVHI MJHIUJOH BOE DPMPS BMUFSBUJPOT BOE MBTUMZ BQQMZJOH TIBSQFOJOH 5IFSF JT OP EPVCU UIBU GPS NBLJOH TQFFEZ BEKVTUNFOUT PG ZPVS GBWPSJUF JNBHFT XJUI UIF PQUJPO PG TPNF PWFSSJEF DPOUSPM UIF 2VJDL 'JY FEJUPS JT B HSFBU QMBDF UP TUBSU "OE UIF CFTU UIJOH PG BMM JT ZPV DBO TFF UIF CFGPSF BOE BGUFS SFTVMUT PG ZPVS DIBOHFT PO TDSFFO WJB UIF [PPNBCMF QSFWJFX XJOEPXT

Book resources at: www.adv-elements.com

Semi-auto editing summary:

0OF PG UIF CFTU BTQFDUT PG UIF &MFNFOUT WFSTJPO PG UIJT FEJUJOH PQUJPO JT UIF GBDU UIBU UIF VTFS DBO DIPPTF UP BQQMZ FBDI JNBHF DIBOHF BVUPNBUJDBMMZ WJB UIF "VUP CVUUPO PS NBOVBMMZ VTJOH UIF TVQQMJFE TMJEFST 5IJT BQQSPBDI QSPWJEFT CPUI DPOWFOJFODF BOE TQFFE XIFO OFFEFE XJUI UIF PQUJPO PG B NBOVBM PWFSSJEF GPS UIPTF EJGm DVMU FEJUJOH UBTLT

s¬-IDDLE LEVEL¬CONTROL¬ USING¬THE¬FEATURES¬IN¬ THE¬¬1UICK¬&IX¬AND¬ &ULL¬%DIT¬WORKSPACES¬ s¬3OME¬CHANGES¬ APPLIED¬ AUTOMATICALLY ¬OTHERS¬ VIA¬A¬USER¬CONTROLLED¬ SLIDER¬ s¬.EW¬USERS¬PROGRESS¬ HERE¬WITH¬EXPERIENCE¬ AND¬UNDERSTANDING¬ s¬#ONTROL¬OF ¬CROPPING ¬ ROTATION ¬CONTRAST ¬ COLOR ¬SATURATION ¬ HUE ¬TEMPERATURE ¬ TINT ¬SHADOW¬AND¬ HIGHLIGHT¬DETAIL ¬RED¬ EYE ¬MIDTONE¬ CONTRAST¬AND¬ SHARPENING

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

PATHWAYS TO EDITING IN ELEMENTS

116

Smart Fix control

Red Eye Fix Lighting control for changes to levels, contrast, shadows and highlights

Color control for changes to saturation, hue, color temperature and tint

Sharpening control

ÂŹ4HEÂŹ1UICKÂŹ&IXÂŹ%DITORÂŹ The Quick Fix editor combines the major automatic enhancing tools with manual override slider controls and great before and after preview pictures. Zoom, Move, Crop, Red Eye Removal, Magic Selection Brush and Selection Brush tools

Rotate image buttons

Before After preview preview

5.08 Adjust Smart Fix Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic Related techniques â&#x20AC;&#x201C; 5.01, 5.03

ÂŹ!DJUSTÂŹ3MARTÂŹ&IXÂŹ ÂŹ The Adjust Smart Fix option provides a slider control for the auto enhancement effects applied by the feature.

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m Y BNPVOU PG BOE QSPWJEFT B TJNJMBS SFTVMU UP TFMFDUJOH &OIBODF "VUP 4NBSU 'JY

Book resources at: www.adv-elements.com

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5IF OFYU BQQSPBDI UP FEJUJOH JODMVEFT UPPMT BOE GFBUVSFT EFTJHOFE UP HJWF UIF VTFS QSPGFTTJPOBM DPOUSPM PWFS UIFJS FEJUJOH BOE FOIBODFNFOU UBTLT .BOZ PG UIF GFBUVSFT EFUBJMFE IFSF BSF WFSZ TJNJMBS UP BOE JO TPNF DBTFT FYBDUMZ UIF TBNF BT UIPTF GPVOE JO UIF 1IPUPTIPQ JUTFMG 5IFTF UPPMT QSPWJEF UIF CFTU RVBMJUZ DIBOHFT BWBJMBCMF XJUI &MFNFOUT CVU UIFZ EP SFRVJSF B HSFBUFS MFWFM PG VOEFSTUBOEJOH BOE LOPXMFEHF UP VTF FGGFDUJWFMZ

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Manual editing

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5IF FYUSB FEJUJOH BOE FOIBODFNFOU QPXFS PG UIFTF UPPMT DPNFT BU B DPTU PG UIF VTFS CFBSJOH BMM SFTQPOTJCJMJUZ GPS UIF FOE SFTVMUT 8IFSFBT UIF BVUPNBUJD OBUVSF PG NBOZ PG UIF GFBUVSFT GPVOE JO UIF PUIFS UXP HSPVQT NFBOT UIBU CBE SFTVMUT BSF SBSF NJTVTJOH PS PWFS BQQMZJOH UIF UPPMT GPVOE IFSF DBO BDUVBMMZ NBLF ZPVS QJDUVSF XPSTF 5IJT TIPVMEO U TUPQ ZPV GSPN WFOUVSJOH JOUP UIFTF XBUFST CVU JU EPFT NFBO UIBU JU JT B HPPE JEFB UP BQQMZ UIFTF UPPMT DBVUJPVTMZ SBUIFS UIBO XJUI B IFBWZ IBOE *O GBDU PODF NPTU VTFST EFWFMPQ B HPPE MFWFM PG VOEFSTUBOEJOH BOE TLJMM XJUI UIF NBOVBM UPPMT BOE GFBUVSFT JO UIF 'VMM &EJU XPSLTQBDF UIFZ TFMEPN SFUVSO UP VTJOH BVUPNBUJD FOIBODFNFOU PQUJPOT QSFGFSSJOH UP SFNBJO JO DPNQMFUF DPOUSPM PWFS UIF QJYFMT JO UIFJS QJDUVSFT

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic Related techniques – 5.07

5IF 'VMM &EJU DPOUBJOT UIF GFBUVSFT BOE UPPMT VTFE GPS UIF NPTU TPQIJTUJDBUFE PG UIF UISFF EJGGFSFOU FEJUJOH QBUIXBZT QSPWJEFE JO &MFNFOUT 5IF HSPVQT PG UPPMT JODMVEFE JO UIJT XPSLTQBDF BSF EFTJHOFE UP HJWF UIF VTFS QSPGFTTJPOBM DPOUSPM PWFS BMM UIFJS FEJUJOH BOE FOIBODFNFOU UBTLT

¬-ANUAL¬OPTIONS¬ The manual versions of many automatic or semi-automatic enhancement features are located in the lower part of the Enhance menu.

s¬3OPHISTICATED¬ CONTROL¬USING¬THE¬ FEATURES¬IN¬THE¬&ULL¬ %DIT¬WORKSPACE¬¬ s¬-OST¬EDITING¬ CHANGES¬APPLIED¬ MANUALLY¬VIA¬SETTINGS¬ INPUT¬BY¬THE¬USER¬ s¬'REAT¬FOR¬COMPLEX¬ EDITING¬AND¬ ¬ENHANCEMENT¬TASKS¬ PERFORMED¬BY¬MORE¬ EXPERIENCED¬USERS¬ s¬4HE¬MOST¬CONTROL¬OF¬ ALL¬THE¬MAJOR¬EDITING¬ AND¬ENHANCING¬OF¬ YOUR¬DIGITAL¬ PHOTOGRAPHS ¬

Book resources at: www.adv-elements.com

Manual editing summary:

5.09 The Full Edit workspace

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"T XFMM BT QSPWJEJOH NBOVBM WFSTJPOT PG BMM UIF BVUPNBUJD FOIBODFNFOU PQUJPOT UIBU XF IBWF MPPLFE BU TP GBS UIF 'VMM &EJU XPSLTQBDF BMTP JODMVEFT UPPMT UIBU FOBCMF UIF VTFS UP JTPMBUF XIFSF BOE IPX UIF FEJUJOH DIBOHFT BSF BQQMJFE UP QIPUPT 'PS UIJT SFBTPO NPTU BEWBODFE UFDIOJRVFT EFUBJMFE JO UIF FOTVJOH DIBQUFST PG UIJT CPPL NBLF VTF PG UIF FYUFOTJWF UPPM BOE GFBUVSF TFU QSPWJEFE JO UIJT &EJUPS XPSLTQBDF Toolbar

Menu bar

Options bar

Jump to Organizer

Task Pane options Edit modes

Palettes in the Task Pane

Image displayed in workspace

Floating palette displayed in workspace

Open images shown in the Project Bin

Auto/manual feature equivalents Automatic feature

Manual equivalent

Auto Levels

Levels or Shadows/Highlights or Brightness/Contrast or Adjust Color Curves

ÂŹ4HEÂŹ&ULLÂŹ%DITÂŹ Advanced editing and enhancement techniques are generally applied in the Full Edit workspace.

Auto Color Correction Remove Color Cast or Color Variations or Adjust Color For Skin Tones Auto Contrast

Levels or Shadows/Highlights or Brightness/Contrast or Adjust Color Curves

Auto Red Eye Fix

Red Eye Removal Tool

Auto Smart Fix

Levels or Shadows/Highlights or Brightness/Contrast or Adjust Color Curves together with Remove Color Cast or Color Variations or Adjust Color For Skin Tones

Auto Sharpen

Unsharp Mask or Adjust Sharpness

Book resources at: www.adv-elements.com

ÂŹ-ANUALÂŹPATHWAYÂŹCHOICESÂŹ ÂŹ Photoshop Elements provides manual alternatives for all its automatic and semi-automatic editing options. This table summarizes the speciďŹ c manual features that can be used as alternatives.

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n PX

Edit task pane button

Full Edit workspace

Quick Fix workspace

Guided Edit workspace

¬4HREE¬EDIT¬OPTIONS¬ Along with a new interface the Adobe engineers have created a third editing workspace to help users with their enhancement activities.

/PXIFSF BSF UIFTF DIBOHFT NPSF FWJEFOU UIBO JO UIF &EJU XPSLTQBDF XIFSF &MFNFOUT VTFST OPX IBWF UIF MVYVSZ PG UISFF EJGGFSFOU XBZT PG DPOEVDUJOH UIFJS FOIBODFNFOU BDUJWJUJFT 0ODF ZPV IBWF TFMFDUFE UIF &EJU IFBEJOH ZPV DBO UIFO DIPPTF CFUXFFO 'VMM &EJU 2VJDL 'JY BOE (VJEFE &EJU XPSLTQBDFT 8F IBWF BMSFBEZ MPPLFE BU UIF 'VMM &EJU BOE 2VJDL 'JY XPSLTQBDFT TP MFU T OPX UVSO PVS BUUFOUJPO UP UIF OFXMZ DSFBUFE (VJEFE &EJU PQUJPO

5.10 Guided Edits Suitable for Elements – 6 | Difﬁculty level – Basic

4FMFDUJOH UIF (VJEFE UBC GSPN UIF &EJU UBTL QBOF EJTQMBZT B MJTU PG UIF UVUPSJBMT UIBU TIJQ XJUI &MFNFOUT $MJDLJOH B UVUPSJBM IFBEJOH XJMM SFWFBM TVCIFBEJOHT GPS TQFDJm D UPQJDT 4FMFDUJOH B IFBEJOH UPQJD XJMM EJTQMBZ B TFU PG JOTUSVDUJPOT UPHFUIFS XJUI BTTPDJBUFE CVUUPOT BOE DPOUSPMT 'PS JOTUBODF JO UIF FYBNQMF PO UIF OFYU QBHF UXP 3PUBUF CVUUPOT SPUBUF MFGU BOE SPUBUF SJHIU BSF EJTQMBZFE JO UIF QBOFM $MJDLJOH FJUIFS PG UIFTF CVUUPOT XJMM QFSGPSN UIF TBNF BDUJPO BT TFMFDUJOH UIF TBNF PQUJPOT GSPN UIF *NBHF 3PUBUF NFOV Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

New editing options in Photoshop Elements 6

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(VJEFE FEJU JT CFTU VTFE GPS MFBSOJOH IPX UP VTF OFX UPPMT BOE UFDIOJRVFT PS BT JT UIF DBTF XJUI UIF OFX 1IPUPNFSHF 'BDFT BOE (SPVQ 4IPU PQUJPOT BT B XBZ UP TUFQ UISPVHI DPNQMFY UFDIOJRVFT 5IF (VJEFE "DUJWJUJFT (VJEF GPS &EJUJOH B 1IPUP FOUSZ DPOUBJOT B DPMMFDUJPO PG HVJEFE FEJUT UIBU BSF VTFGVM XIFO DPSSFDUJOH JNBHFT 5IFTF JODMVEF DSPQ MJHIUFO EBSLFO UPVDI VQ BOE TIBSQFO

Â¬'UIDEDÂ¬%DITSÂ¬ The Guided edit workspace combines step-by-step instruction with embedded enhancement or edit controls.

Non Destructive editing, the professionalâ&#x20AC;&#x2122;s choice 5IPVHI OPU TUSJDUMZ BO FEJUJOH NPEF JO JUTFMG UIF JEFB PG NBLJOH DIBOHFT UP ZPVS JNBHFT JO B OPO EFTUSVDUJWF GBTIJPO JT LFZ UP BMM QSPGFTTJPOBM XPSLn PXT 'PS UIJT SFBTPO * GFFM UIBU JU JT BQQSPQSJBUF UP JOUSPEVDF UIF JEFB IFSF 8IFO EJHJUBM QIPUPHSBQIZ XBT JO JUT JOGBODZ BMM DIBOHFT NBEF UP UIF QIPUP XFSF BQQMJFE EJSFDUMZ UP UIF PSJHJOBM QJYFMT DBQUVSFE CZ UIF DBNFSB PS TDBOOFS "U UIF UJNF UIF BCJMJUJFT PG UIF TPGUXBSF BOE IBSEXBSF BMMPXFE GSVTUSBUJOHMZ GFX BMUFSOBUJWFT UP UIJT EFTUSVDUJWF XBZ PG XPSLJOH 'PS NF BT B QIPUPHSBQIFS XIP USBJOFE XIFO m MN XBT LJOH * GPVOE UIF JEFB PG DIBOHJOH NZ DBQUVSFE JNBHF SBUIFS EJTUSFTTJOH BT * XPVME OFWFS IBWF BMUFSFE DVU PS JOUFOUJPOBMMZ NBSLFE NZ OFHBUJWFT TP XIZ TIPVME * IBWF UP XPSL UIJT XBZ XIFO PQUJOH GPS B EJHJUBM XPSLn PX 5IJT XPVME MFBE NF UP NBLF DPVOUMFTT DPQJFT PG NZ PSJHJOBM JNBHFT UP FOTVSF UIBU * IBE BU MFBTU POF DPQZ PG UIF QSJNBSZ DBQUVSF m MF UP SFGFS UP BU BMM UJNFT Book resources at: www.adv-elements.com

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5ISPVHIPVU UIF SFTU PG UIF UFYU * XJMM VTF OPO EFTUSVDUJWF FEJUJOH BOE FOIBODFNFOU UFDIOJRVFT XIFSF FWFS QPTTJCMF CVU UP HFU ZPV VQ UP TQFFE IFSF * JOUSPEVDF B TFMFDUJPO PG UPPMT UFDIOJRVFT BOE GFBUVSFT UIBU DBO CF FNQMPZFE UP FOIBODF ZPVS JNBHFT OPO EFTUSVDUJWFMZ

5.11 Adjustment Layers Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

5IFTF TQFDJBM MBZFST BMUFS UIF MPPL PG UIF MBZFST UIBU BSF BSSBOHFE CFMPX UIFN JO UIF MBZFST TUBDL 5IFZ BDU BT B m MUFS UISPVHI XIJDI UIF MPXFS MBZFST BSF WJFXFE :PV DBO VTF BEKVTUNFOU MBZFST UP QFSGPSN NBOZ PG UIF FOIBODFNFOU UBTLT UIBU ZPV XPVME OPSNBMMZ BQQMZ EJSFDUMZ UP BO JNBHF MBZFS XJUIPVU DIBOHJOH UIF JNBHF JUTFMG 8IFO ZPV DIPPTF UP VTF BO "EKVTUNFOU -BZFS SBUIFS UIBO BQQMZJOH UIF FOIBODFNFOU DIBOHF EJSFDUMZ UP UIF JNBHF ZPV BSF DIPPTJOH UP XPSL OPO EFTUSVDUJWFMZ $SFBUJOH BO BEKVTUNFOU MBZFS BEET B OFX FOUSZ UP UIF MBZFST QBMFUUF KVTU BCPWF UIF BDUJWF MBZFS 5IF BEKVTUNFOU MBZFS FOUSZ DPOUBJOT UXP UIVNCOBJMT o UIF -BZFS 5IVNCOBJM PO UIF MFGU BOE UIF -BZFS .BTL UIVNCOBJM PO UIF SJHIU %PVCMF DMJDLJOH UIF -BZFS 5IVNCOBJM XJMM EJTQMBZ UIF BEKVTUNFOU MBZFS T EJBMPH 'PS JOTUBODF JO UIF DBTF PG B -FWFMT BEKVTUNFOU MBZFS EPVCMF DMJDLJOH UIF UIVNCOBJM XJMM EJTQMBZ UIF -FWFMT EJBMPH 5IJT QSPWJEFT UIF VTFS XJUI UIF BCJMJUZ UP NBLF BEKVTUNFOUT UP FYJTUJOH TFUUJOHT PS FWFO SFTU UIF EJBMPH BU BOZ UJNF 5IF -BZFS .BTL JT VTFE UP DVTUPNJ[F XIFSF BOE IPX UIF BEKVTUNFOU MBZFS T DIBOHFT BSF BQQMJFE 4FF 5FDIOJRVF GPS NPSF EFUBJMT

¬!DJUSTMENT¬,AYERS¬ ¬ Photoshop Elements contains eight different adjustment layers.

&MFNFOUT DPOUBJOT FJHIU EJGGFSFOU UZQFT PG BEKVTUNFOU MBZFST XIJDI BSF HSPVQFE UPHFUIFS XJUI UIF m MM MBZFST VOEFS UIF $SFBUF "EKVTUNFOU -BZFS CVUUPO JO UIF -BZFST QBMFUUF 5IF TBNF PQUJPOT DBO BMTP CF GPVOE JO UIF -BZFS /FX "EKVTUNFOU -BZFS NFOV 5IFZ BSF Levels o "EKVTUT UIF UPOFT JO UIF QJDUVSF Brightness/Contrast o -JHIUFOT EBSLFOT BOE DPOUSPMT DPOUSBTU Hue/Saturation o $IBOHFT UIF DPMPS BOE TUSFOHUI PG DPMPS JO QIPUPT

¬!DJUSTMENTS¬APPLIED¬DOWNWARDS¬ Adjustment layers alter the look of the image layers that are positioned below them in the layers palette.

Gradient Map o $IBOHFT UIF QIPUP TP UIBU BMM UIF UPOFT BSF NBQQFE UP UIF WBMVFT PG B TFMFDUFE HSBEJFOU Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

5IBOLGVMMZ UJNFT IBWF DIBOHFE BOE EJHJUBM QIPUPHSBQIZ JT OPX XFMM PVU PG ATIPSU USPVTFST BOE TPGUXBSF BOE IBSEXBSF IBT EFWFMPQFE UP B TUBHF XIFSF NBOZ PG UIF FEJUJOH BDUJWJUJFT XF SFHVMBSMZ DBSSZ PVU JO 1IPUPTIPQ &MFNFOUT DBO CF FYFDVUFE OPO EFTUSVDUJWFMZ UIBU JT XJUIPVU BMUFSJOH UIF QJYFMT PG UIF DBQUVSFE m MF

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Photo Filter o 3FQSPEVDFT UIF DPMPS DIBOHFT PG USBEJUJPOBM QIPUP m MUFST Invert o 3FWFSTFT BMM UIF UPOFT JO B QJDUVSF QSPEVDJOH B OFHBUJWF FGGFDU Threshold o $POWFSUT UIF QJDUVSF UP QVSF CMBDL BOE XIJUF XJUI OP HSBZT QSFTFOU BU BMM Posterize o 3FEVDFT UIF UPUBM OVNCFS PG DPMPST JO B QJDUVSF BOE DSFBUFT B n BU QBJOU PS QPTUFS MJLF FGGFDU 1MBDJOH BO BEKVTUNFOU MBZFS BU UIF UPQ PG B TUBDL PG MBZFST XJMM FOTVSF UIBU UIF FEJUJOH DIBOHFT XJMM CF BQQMJFE UP UIF DPOUFOU PG BMM UIF MBZFST CFOFBUI *G JOTUFBE PG DIBOHJOH BMM UIF MPXFS MBZFST ZPV XBOU UP SFTUSJDU UIF FGGFDUT PG UIF BEKVTUNFOU MBZFS UP B TJOHMF MBZFS UIFO BGUFS TFMFDUJOH UIF BEKVTUNFOU MBZFS QJDL UIF (SPVQ XJUI 1SFWJPVT PQUJPO GSPN UIF -BZFS NFOV 5IJT XJMM JOEFOU UIF BEKVTUNFOU MBZFS JO UIF QBMFUUF BOE NPSF JNQPSUBOUMZ AHSPVQ UIF BEKVTUNFOU XJUI UIF MBZFS JNNFEJBUFMZ CFMPX JU 5IJT UFDIOJRVF JT BO JNQPSUBOU POF BT JU DIBOHFT UIF XBZ UIBU BEKVTUNFOU MBZFST XPSL BOE BMMPXT UIFJS OPO EFTUSVDUJWF FEJUJOH QPXFST UP CF BQQMJFE UP JOEJWJEVBM JNBHF MBZFST POMZ

Gradient Map adjustment layer being applied to both image layers

Gradient Map adjustment layer grouped with Layer 1 so that the convert to gray change only occurs in one layer only

ÂŹ2ESTRICTINGÂŹADJUSTMENTSÂŹTOÂŹAÂŹSINGLEÂŹLAYERÂŹ To link the changes made via an adjustment layer to a single layer only, make sure that the adjustment layer is directly above the image layer to be changed and then with the adjustment layer active, choose Layer > Group with Previous or Ctrl G. Pro Tip: Alt click on the border between a layer and the one below it to Group With Previous.

5.12 â&#x20AC;&#x2DC;All Layersâ&#x20AC;&#x2122; tool options Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic

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ook resources at: www.adv-elements.com

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¬.$¬RETOUCHING¬ By using the All Layers option available with tools like the Clone Stamp and Spot Healing brush it is possible to remove dust and scratches from images without changing the original pixels.

5P VTF UIJT UFDIOJRVF TUBSU CZ DSFBUJOH B OFX MBZFS BCPWF UIF CBDLHSPVOE MBZFS 3FOBNF UIJT MBZFS 3FUPVDIJOH /FYU TFMFDU UIF MBZFS UP NBLF TVSF UIBU JU JT BDUJWF BOE DIPPTF UIF EFTJSFE UPPM GSPN UIF &MFNFOUT UPPMCBS #FGPSF DPNNFODJOH UIF SFQBJS XPSL TFMFDU UIF "MM -BZFST PQUJPO JO UIF UPPM T PQUJPOT CBS /PX QSPDFFE UP VTF UIF UPPM OPSNBMMZ 5IF SFUPVDIJOH DIBOHFT UIPVHI TUPSFE JO B TFQBSBUF MBZFS BSF TFBNMFTTMZ CMFOEFE XJUI UIF CBDLHSPVOE 'PS TQFDJm D SFTUPSBUJPO BOE SFUPVDIJOH UFDIOJRVFT UVSO UP $IBQUFST BOE

5.13 Blend Modes Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

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ook resources at: www.adv-elements.com

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HSBZTDBMF JNBHF UP TJNVMBUF UIF MPPL PG B IBOE DPMPSFE QIPUP PG PME :PV NBZ m STU UIJOL UIBU UIF UBTL JT B TJNQMF POF TFMFDU UIF DPMPS DIPPTF UIF #SVTI UPPM BOE UIFO QBJOU PWFS UIF HSBZTDBMF CBDLHSPVOE MBZFS %P UIJT BOE ZPV XJMM HFU B QBJOU TUSPLF PG TPMJE DPMPS UIBU PCTDVSFT BMM UIF EFUBJM PG UIF PSJHJOBM JNBHF /PU UIF MPPL UIBU XF BSF XBOUJOH )PXFWFS JG ZPV DIBOHF UIF #SVTI T #MFOE .PEF VTJOH UIF ESPQ EPXO NFOV JO UIF UPPM T PQUJPO CBS UP $PMPS UIFO UIF UPPM NBHJDBMMZ BQQMJFT DPMPS JO EJSFDU QSPQPSUJPO BT UPOF PG UIF CBDLHSPVOE JNBHF "MM EFUBJM JT SFUBJOFE JO UIF VOEFSMZJOH JNBHF CVU UIJT EFUBJM JT DPMPSFE UIF IVF PG UIF GPSFHSPVOE TXBUDI 5IJT JT UIF NBHJD PG UIF $PMPS #MFOE .PEF

¬"LEND¬-ODES¬IN¬ACTION¬ By painting into a separate layer whose Blend Mode has been changed to Color you have the ability to tint the grayscale image while still retaining the original capture in the background layer. Note: Keep in mind that the grayscale image needs to be in RGB Color mode to be tintable.

5IBU TBJE JO BQQMZJOH UIF DPMPSJOH EJSFDUMZ UP UIF CBDLHSPVOE MBZFS XF BSF EFTUSVDUJWFMZ BMUFSJOH UIF QSJNBSZ QJYFMT 4P MFU T SFXPSL UIF UFDIOJRVF TP UIBU JU TUJMM VTFT UIF #MFOE .PEF CVU QSPUFDUT UIF PSJHJOBM JNBHF 4UBSU CZ DSFBUJOH B OFX MBZFS UP IPVTF UIF DPMPS DIBOHFT /FYU DIBOHF UIF #MFOE .PEF PG UIF MBZFS UP $PMPS 4FMFDU UIF GPSFHSPVOE DPMPS BOE UIFO UIF #SVTI UPPM .BLF TVSF UIBU UIF #MFOE .PEF PG UIF #SVTI JT CBDL UP UIF EFGBVMU TFUUJOH /PSNBM 8JUI UIF OFX DPMPS DIBOHFT MBZFS TFMFDUFE QBJOU PWFS UIF JNBHF /PUJDF UIBU UIF TBNF DPMPSJOH FGGFDU JT QSPEVDFE CVU UIJT UJNF UIF #MFOE .PEF DIBOHF JT BQQMJFE UP UIF MBZFS OPU UIF #SVTI

5.14 Layer Masking Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

"T XF IBWF BMSFBEZ TFFO FBDI UJNF ZPV BEE B m MM PS BEKVTUNFOU MBZFS UP BO JNBHF UXP UIVNCOBJMT BSF DSFBUFE JO UIF -BZFST QBMFUUF 5IF POF PO UIF MFGU DPOUSPMT UIF TFUUJOHT GPS UIF BEKVTUNFOU MBZFS 5IF UIVNCOBJM PO UIF SJHIU SFQSFTFOUT UIF MBZFS T NBTL UIBU DPOUSPMT IPX UIF BEKVTUNFOU JT BQQMJFE UP UIF QJDUVSF 5IF NBTL JT B HSBZTDBMF JNBHF 8IFO JU T DPMPSFE XIJUF OP QBSU PG UIF BEKVTUNFOU MBZFS T FGGFDUT BSF NBTLFE PS IFME CBDL GSPN UIF QJDUVSF CFMPX 5IF GVMM DIBOHFT BSF BQQMJFE UP UIF JNBHF $POWFSTFMZ JG UIF NBTL UIVNCOBJM JT UPUBMMZ CMBDL UIFO OPOF PG UIF MBZFS T FGGFDUT BSF BQQMJFE UP UIF QJDUVSF 4IBEFT PG HSBZ FRVBUF UP WBSJPVT MFWFMT PG USBOTQBSFODZ *O UIJT XBZ UIF FOIBODFNFOU DIBOHFT QSPEVDFE WJB BO BEKVTUNFOU PS m MM MBZFS DBO CF TFMFDUJWFMZ BQQMJFE PS NFSHFE XJUI UIF MBZFST CFOFBUI CZ QBJOUJOH JO CMBDL BOE XIJUF BOE HSBZ POUP UIF MBZFS NBTL Book resources at: www.adv-elements.com

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PATHWAYS TO EDITING IN ELEMENTS

¬-ASKING¬ Modifying the mask associated with adjustment layers provides the option to customize where the effects of the layer are applied to the image layer. Using varying levels of gray will also change the strength of the enhancement effect. A darker gray will produce less noticeable changes whereas a light gray will allow more of the adjustment layer’s effects to be seen.

#Z EFGBVMU UIF MBZFS NBTL JT TFU UP XIJUF TP UIBU UIF BEKVTUNFOU FGGFDU JT GVMMZ BQQMJFE 5P DVTUPNJ[F UIF BQQMJDBUJPO PG UIF FGGFDU DMJDL POUP UIF -BZFS .BTL UIVNCOBJM TP UIBU UIFSF JT B TFDPOE MJOF CPSEFS TVSSPVOE JO UIF UIVNCOBJM TFMFDU UIF #SVTI UPPM BOE DIPPTF CMBDL XIJUF PS HSBZ BT UIF GPSFHSPVOE DPMPS /PX QBJOU PWFS UIF TVSGBDF PG UIF JNBHF /PUJDF UIBU UIF BEKVTUNFOU MBZFS FGGFDU JT SFEVDFE PS FMJNJOBUFE JO UIF BSFBT XIFSF ZPV QBJOU XJUI HSBZ PS CMBDL "MTP OPUJDF UIBU UIF NBTL UIVNCOBJM OPX EJTQMBZT UIF QBJOUFE TUSPLFT *U JT BMTP XPSUI OPUJOH UIBU QSFTFMFDUJOH BO BSFB CFGPSF DSFBUJOH UIF BEKVTUNFOU MBZFS XJMM SFTVMU JO B .BTL UIF TIBQF BOE TJ[F PG UIF TFMFDUJPO .BOZ QSPGFTTJPOBMT VTF NBTLT PO B SFHVMBS CBTJT UP IFMQ DVTUPNJ[F UIF BQQMJDBUJPO PG BEKVTUNFOU MBZFS DIBOHFT BOE BMTP GPS HPWFSOJOH IPX UIF QJDUVSF QBSUT JO TFQBSBUF JNBHF MBZFST JOUFSBDU 5IPVHI 1IPUPTIPQ &MFNFOUT EPFTO U DPOUBJO BMM UIF NBTLJOH QPXFS UIBU JUT CJHHFS CSPUIFS 1IPUPTIPQ EPFT DVTUPNJ[JOH BEKVTUNFOU MBZFST JT OP QSPCMFN BOE XJUI B TJNQMF AXPSL BSPVOE TFF 5FDIOJRVF JU JT BMTP QPTTJCMF UP QSPWJEF NPSF NBTLJOH GVODUJPOBMJUZ UIBO JT HFOFSBMMZ BWBJMBCMF UP UIF &MFNFOUT VTFS

5.15 Duplicate layers Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic

*O TJUVBUJPOT XIFSF OPOF PG UIF BCPWF UFDIOJRVFT DBO CF VTFE UP FEJU OPO EFTUSVDUJWFMZ JU XJMM CF OFDFTTBSZ UP VTF PUIFS NFBOT UP QSFTFSWF UIF JOUFHSJUZ PG UIF PSJHJOBM m MF " DMFBS FYBNQMF PG UIJT JT XIFO JU DPNFT UJNF UP BEE TPNF TIBSQFOJOH UP ZPVS QIPUPT /PX CZ EFTJHO BQQMZJOH B TIBSQFOJOH m MUFS XJMM QSFUUZ NVDI DIBOHF BMM UIF QJYFMT JO ZPVS QIPUP JO PSEFS UP JODSFBTF UIF DMBSJUZ PG UIF QJDUVSF XIJDI NBLFT UIF BDUJPO WFSZ EFTUSVDUJWF BOE POF UIBU TIPVME CF BWPJEFE 4P XIBU PUIFS SPVUF DBO XF UBLF UP QSPWJEF UIF TBNF SFTVMUT 8FMM UIF TJNQMFTU XBZ JT UP EVQMJDBUF UIF JNBHF MBZFS BOE UIFO BQQMZ UIF TIBSQFOJOH m MUFS UP UIF DPQZ SBUIFS UIBO UIF PSJHJOBM MBZFS 5IJT XBZ UIF QSJNBSZ QJYFMT JO UIF PSJHJOBM JNBHF MBZFS BSF Book resources at: www.adv-elements.com

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┬м%DITING┬мLAYER┬мCOPIES┬м When there is no other option than apply editing changes directly to the image layer then the best way to ensure that your original pixels are protected is to duplicate the image layer and execute the changes on the copy (a). With multi-layer documents use the Copy Merge command to duplicate the contents of all layers ямБrst before applying the editing changes to the merge layer (b).

QSPUFDUFE BOE EJTQMBZJOH UIF TIBSQFOFE SFTVMU JT B TJNQMF NBUUFS PG FOTVSJOH UIBU JU SFTJEFT BU UIF UPQ PG UIF MBZFS TUBDL "MUFSOBUJWFMZ UIF PSJHJOBM DBO CF IJEEFO GSPN WJFX DMJDL UIF AFZF JDPO PO UIF MFGU PG UIF MBZFS FOUSZ *O UIF DBTF PG B EPDVNFOU UIBU DPOUBJOT NVMUJQMF JNBHF MBZFST PS B DPNCJOBUJPO PG JNBHF BOE BEKVTUNFOU MBZFST TPNF QIPUPHSBQIFST XPVME NFSHF BMM UIF JNBHF MBZFST CFGPSF DPQZJOH UIF SFTVMUBOU MBZFS BOE BQQMZJOH UIF TIBSQFO m MUFS 5IF BDU PG NFSHJOH NFBOT UIBU ZPV XJMM MPTF UIF BCJMJUZ UP DIBOHF UIF TFUUJOHT JO UIF BEKVTUNFOU MBZFST PS FEJU BOZ PG UIF JNBHF MBZFST JOEFQFOEFOUMZ 4P GPSHFU UIF -BZFS .FSHF -BZFST DPNNBOE JOTUFBE TFMFDU UIF XIPMF EPDVNFOU VTJOH UIF 4FMFDU 4FMFDU "MM DPNNBOE BOE UIFO DPQZ UIF DPOUFOUT PG BMM UIF MBZFST UP NFNPSZ CZ DIPPTJOH UIF $PQZ .FSHFE PQUJPO GSPN UIF &EJU NFOV /FYU TFMFDU UIF VQQFSNPTU MBZFS JO UIF MBZFS TUBDL BOE TFMFDU &EJU 1BTUF 5IJT BDUJPO JOTFSUT B OFX MBZFS BU UIF UPQ PG UIF TUBDL UIBU JT UIF DPNCJOBUJPO PG BMM UIF MBZFST JO UIF EPDVNFOU 5IJT MBZFS DBO UIFO CF m MUFSFE XJUIPVU GFBS PG EBNBHJOH UIF PSJHJOBM QIPUP Secret Pro Tip: *OTUFBE PG EPJOH UIF TFMFDU BMM DPQZ NFSHFE QBTUF UP UPQ PG TUBDL TUFQT QSPT TJNQMZ BEE B OFX FNQUZ MBZFS BU UIF UPQ PG UIF TUBDL BOE UIFO EP 4IJGU "MU $POUSPM & XIJDI JT B VOEPDVNFOUFE 4UBNQ 7JTJCMF DPNNBOE UIBU VOGPSUVOBUFMZ IBT OP NFOV FRVJWBMFOU

Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

*U JT USVF UIBU 1IPUPTIPQ &MFNFOUT DPOUBJOT B EB[[MJOH BSSBZ PG FEJUJOH BOE FOIBODFNFOU UPPMT *O GBDU NBOZ XPVME TBZ UIBU JG ZPV DBO U m OE B UPPM UP QFSGPSN UIF DIBOHFT ZPV EFTJSF UIFO ZPV BSF OPU SFBMMZ USZJOH #VU BT XF IBWF TFFO KVTU IBWJOH UIF SJHIU UPPM UP IBOE JT OPU UIF XIPMF TUPSZ JU JT BMTP JNQPSUBOU UP FOTVSF UIBU ZPV BSF BCMF UP VTF UIF UPPMT JO B XBZ UIBU QSFTFSWFT UIF QJYFMT m STU DBQUVSFE BOE QSPEVDFT UIF CFTU RVBMJUZ FOIBODFNFOUT QPTTJCMF 5IJT PGUFO NFBOT VTJOH UIF UPPMT XF IBWF JO XBZT UIBU QFSIBQT XFSF OPU FOWJTBHFE XIFO UIF GFBUVSFT XFSF m STU EFTJHOFE 5IF OFYU GFX UFDIOJRVFT FYUFOE UIF FEJUJOH BCJMJUJFT PG 1IPUPTIPQ &MFNFOUT CFZPOE UIF TUBOEBSE XPSLn PX BQQSPBDIFT BEWPDBUFE JO NPTU UFYUT 5IFTF PQUJPOT NBZ OPU OFFE UP CF VTFE XJUI FWFSZ QIPUP CVU UIFZ XJMM DFSUBJOMZ DPNF JO IBOEZ XJUI TQFDJm D FOIBODFNFOU UBTLT BOE XJMM CFDPNF BO JNQPSUBOU UFDIOJRVF JO ZPVS FEJUJOH LJU CBH

ÂŹ0HOTOSHOPÂŹFEATURESÂŹINÂŹ%LEMENTSÂŹ Users can add to the functionality of Elements by opening Photoshop documents (a) containing Photoshop only adjustment layers (e.g. Curves, Selective Color, Black and White and Color Balance) and then dragging these layers to their Element documents (b). The adjustment layerâ&#x20AC;&#x2122;s enhancements will be applied to the document, but the settings for these layers can not be altered in Elements.

5.16 Borrowing Photoshop features Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic

#FDBVTF PG UIF QSPGFTTJPOBM OBUVSF PG 1IPUPTIPQ JU DPOUBJOT B SBOHF PG IJHI MFWFM GFBUVSFT BOE UPPMT UIBU BSF OPU BWBJMBCMF JO &MFNFOUT 5IJT TBJE CPUI 1IPUPTIPQ BOE &MFNFOUT DPOUBJO B SBOHF PG UPPMT BOE GFBUVSFT BOE UFDIOPMPHZ JO DPNNPO BOE NVDI PG UIF OVUT BOE CPMUT UIBU TJU CFIJOE UIF TDFOFT BSF TIBSFE CZ CPUI QSPHSBNT 5IJT DSPTT PWFS MFBET UP BO JOUFSFTUJOH TJUVBUJPO XIFSF TPNF GFBUVSFT UIBU BSF 1IPUPTIPQ POMZ DBO CF CPSSPX UP CF VTFE JO B MJNJUFE XBZ JO &MFNFOUT 8F IBWF CFFO UBMLJOH BCPVU UIF JNQPSUBODF PG "EKVTUNFOU -BZFST BT B XBZ PG OPO EFTUSVDUJWF FOIBODJOH BOE BT ZPV XPVME FYQFDU 1IPUPTIPQ DPOUBJOT NPSF BEKVTUNFOU MBZFS PQUJPOT UIBO &MFNFOUT 0G JOUFSFTU UP VT QBSUJDVMBSMZ BSF UIF $VSWFT $PMPS #BMBODF 4FMFDUJWF $PMPS BOE UIF OFX #MBDL BOE 8IJUF BEKVTUNFOU MBZFST 5IPVHI UIFTF GFBUVSFT DBO U CF JOWPLFE PS "EKVTUFE JO &MFNFOUT B 1IPUPTIPQ EPDVNFOU DPOUBJOJOH UIF MBZFST DBO CF PQFOFE JO UIF QSPHSBN 5IF "EKVTUNFOU MBZFST Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

Giving Elements a helping hand

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

DBO CF TFFO BT TFQBSBUF FOUSJFT JO UIF MBZFST QBMFUUF CVU GPS UIF NPTU QBSU UIF TFUUJOHT DBO U CF BEKVTUFE #MBDL BOE 8IJUF JT BO FYDFQUJPO CVU NPSF PO UIJT MBUFS 8IFO UIJT TDFOBSJP JT DPVQMFE XJUI UIF GBDU UIBU 1IPUPTIPQ BEKVTUNFOU MBZFST DBO CF ESBHHFE GSPN POF EPDVNFOU UP BOPUIFS VTFST FOE VQ XJUI UIF BCJMJUZ UP BQQMZ OPO &MFNFOUT CBTFE BEKVTUNFOU MBZFST UP &MFNFOUT EPDVNFOUT $PPM *O QSBDUJDF * DSFBUFE TFWFSBM EPDVNFOUT JO 1IPUPTIPQ DPOUBJOJOH "EKVTUNFOU -BZFST XJUI B WBSJFUZ PG TFUUJOHT CVU OP JNBHF EBUB * UIFO PQFO UIFTF m MFT JO &MFNFOUT BOE ESBH UIF SFRVJSFE BEKVTUNFOU MBZFS GSPN UIF 1IPUPTIPQ EPDVNFOU UP UIF &MFNFOUT m MF BOE IFZ QSFTUP UIF FOIBODFNFOU JT BQQMJFE /PX UIBU JT m OF GPS NF BT * IBWF CPUI 1IPUPTIPQ BOE &MFNFOUT PO NZ NBDIJOF CVU * LOPX UIBU NPTU SFBEFST EP OPU IBWF UIJT MVYVSZ TP GPS UIJT SFBTPO * IBWF DSFBUFE TFWFSBM EJGGFSFOU 1IPUPTIPQ EPDVNFOUT UIBU BSF BWBJMBCMF GSPN UIF CPPL T XFCTJUF UIBU ZPV DBO VTF GPS ZPVS PXO QSPKFDUT

Â¬0HOTOSHOPÂ¬DONORÂ¬DOCUMENTSÂ¬ The bookâ&#x20AC;&#x2122;s website contains several documents created in Photoshop that can be used to donate Photoshop only adjustment layers to your Elements document. (a) Photoshop-Selective-Color.psd (b) Photoshop-Convert-to-gray.psd (c)Photoshop-Curves.psd (d) Photoshop-Split-Tones.psd

Book resources at: www.adv-elements.com

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Photoshop donor documents

Photoshop-Selective-Color.psd o 'PS CPPTUJOH PS SFEVDJOH TQFDJm D DPMPST VTJOH UIF 4FMFDUJWF $PMPS "EKVTUNFOU MBZFS Photoshop-Convert-to-Gray.psd o .POPDISPNF DPOWFSTJPOT VTJOH UIF #MBDL BOE 8IJUF GFBUVSF Photoshop-Curves.psd o $VSWFT CBTFE BEKVTUNFOU PG UIF UPOFT JO ZPVS QIPUPT Photoshop-Split-Tones.psd o 4PQIJTUJDBUFE TQMJU UPOJOH FGGFDUT VTJOH 1IPUPTIPQ T $PMPS #BMBODF BEKVTUNFOU MBZFS UP TFQBSBUFMZ UPOF IJHIMJHIUT BOE TIBEPXT

5.17 Advanced layer masks Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic

"MPOH XJUI FYUSB BEKVTUNFOU MBZFST 1IPUPTIPQ BMTP DPOUBJOT BEWBODFE NBTLJOH PQUJPOT UIBU BSF OPU BWBJMBCMF JO &MFNFOUT 8F IBWF BMSFBEZ TFF IPX JU JT QPTTJCMF UP VTF UIF NBTLT BTTPDJBUFE XJUI "EKVTUNFOU -BZFST UP DVTUPNJ[F XIFSF UIF MBZFS T FGGFDUT BSF BQQMJFE XFMM 1IPUPTIPQ BMMPXT VTFST UP

ÂŹ)MAGEÂŹLAYERÂŹMASKSÂŹ Though not designed for this purpose it is possible to use the Layer Masks associated with adjustment layers to mask image layers. In the example above the sky from the upper image layer is HomeSite with the foreground detail from the layer below using the layer mask in the Levels adjustment layer. For this to occur the adjustment layer needs to be created with no settings and then the upper image layer is Grouped with the adjustment layer.

Book resources at: www.adv-elements.com

PATHWAYS TO EDITING IN ELEMENTS

5IF CPPL T XFCTJUF DPOUBJOT GPVS LFZ 1IPUPTIPQ EPOPS EPDVNFOUT UIF m MFT DPOUBJOJOH BEKVTUNFOU MBZFST XIJDI DBO CF ESBHHFE UP &MFNFOUT EPDVNFOUT EFTJHOFE UP CF VTFE GPS TQFDJm D FOIBODFNFOU BDUJWJUJFT &BDI EPDVNFOU JODMVEFT NVMUJQMF MBZFST GPS B TJOHMF BEKVTUNFOU GFBUVSF 5IF TFUUJOHT GPS FBDI MBZFS EJGGFS QSPWJEJOH B CVODI PG QSFTFU FOIBODFNFOU PQUJPOT UIBU DBO CF BQQMJFE UP &MFNFOUT EPDVNFOUT CZ TJNQMZ ESBHHJOH BOE ESPQQJOH UIF MBZFS UP UIF &MFNFOUT m MFT 5IF EPOPS EPDVNFOUT JODMVEF

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VTF NBTLT XJUI JNBHF MBZFST UP QSPWJEF UIF TBNF MFWFM PG DVTUPNJ[BUJPO XIFO NPOUBHJOH 8IFO B NBTL JT BUUBDIFE UP BO JNBHF MBZFS JU DBO CF VTFE UP BEKVTU XIJDI QBSUT PG UIF VQQFS MBZFS BSF WJTJCMF BOE XIJDI QBSUT BSF IJEEFO GSPN WJFX BMMPXJOH UIF DPOUFOUT PG UIF MBZFS CFOFBUI UP TIPX UISPVHI 5IJT JT B WFSZ IBOEZ GVODUJPO BT JU JT QSPWJEFT OPO EFTUSVDUJWF NPOUBHF BCJMJUJFT &MFNFOUT VTFST DBO BDDFTT TVDI NBTLJOH BCJMJUJFT CZ IJHIKBDLJOH UIF NBTL BTTPDJBUFE XJUI BO BEKVTUNFOU MBZFS BOE VTF JU XJUI BO JNBHF MBZFS 5IF QSPDFTT JOWPMWFT BEEJOH BO BEKVTUNFOU MBZFS XJUI OP TFUUJOHT BQQMJFE UP UIF MBZFST TUBDL JO CFUXFFO UIF UXP JNBHF MBZFST UP CF NPOUBHFE /FYU UIF VQQFS JNBHF MBZFS JT HSPVQFE XJUI UIF OP TFUUJOHT BEKVTUNFOU MBZFS 5IJT BDUJPO FTTFOUJBMMZ MJOLT UIF JNBHF MBZFS XJUI UIF NBTL PG UIF BEKVTUNFOU MBZFS "T UIF NBTL CZ EFGBVMU JT XIJUF UIF VQQFS JNBHF MBZFS JT EJTQMBZFE JO GVMM CVU QBJOU POUP UIF MBZFS NBTL XJUI B CMBDL PS HSBZ CSVTI BOE EFUBJMT PG UIF MPXFS MBZFS XJMM CF SFWFBMFE #Z VTJOH CMBDL XIJUF BOE HSBZ QBJOU TUSPLFT PO UIF NBTL JU JT QPTTJCMF UP OPO EFTUSVDUJWFMZ NJY UIF DPOUFOUT PG UIF UXP JNBHF MBZFST -PPL GPS FYBNQMFT PG UIJT UFDIOJRVF UISPVHIPVU UIF OFYU DIBQUFST

Book resources at: www.adv-elements.com

IMAGE CHANGES – BEYOND THE BASICS

Image Changes – Beyond the Basics

Book resources at: www.adv-elements.com ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Advanced selection techniques Many great image editing techniques are based on the â&#x20AC;&#x2DC;selectionâ&#x20AC;&#x2122; prowess of the photographer. Being able to manipulate the selection tools to isolate the precise pixels that you wish to edit is a key skill that we all should possess. The following techniques will help you build on your existing selection skills.

6.01 Adding to and subtracting from selections Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic Related techniques â&#x20AC;&#x201C; 6.02, 6.03, 6.04, 6.05 | Tools used â&#x20AC;&#x201C; Magic Wand, Lasso, Marquee

Only on a very rare occasion will you be able to create the perfect selection with a single tool applied once. Most editing jobs require the building of selections using multiple tools, creating new selections that are either added to, or subtracted from, existing selections. Photoshop Elements provides a range of features that are designed for just this purpose. When a selection tool is in use four selection modes are available in the options bar. By switching between these modes while making additional selections you can: t $SFBUF B new selection each time the tool is applied, t Add to an existing selection, t Subtract from an existing selection, or t .BLF B TFMFDUJPO GSPN UIF intersection of the new and old selections. Adding to selections >> Modify your selections by

The modes are available for all selection tools switching selection modes using the buttons found in the exception being that the Intersect mode can the Options menu. (a) New selection. (b) Add to selection. (c) Subtract from selection. (d) Make new not be used with the Quick Selection Tool or the selection from the intersection. Selection Brush tools. The New Selection option CFJOH UIF EFGBVMU $PNQMFY BSFBT PG B QJDUVSF DBO CF JTPMBUFE CZ NBLJOH B TFSJFT PG TFMFDUJPOT choosing the necessary tool (Lasso, Marquee, Magic Wand, Selection Brush or Quick Selection Tool) and mode (new, add to, subtract from, intersection of) as you go. The mode of the current tool can also be changed using a keyboard shortcut whilst selecting. Hold down the Shift key to add to a selection or the Alt key.

6.02 Using the Selection Brush Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.02 Related techniques â&#x20AC;&#x201C; 6.01, 6.03, 6.04, 6.05 | Tools used â&#x20AC;&#x201C; Selection tools | Menus used â&#x20AC;&#x201C; Select

Responding to photographersâ&#x20AC;&#x2122; demands for even more options for making selections, Adobe included the Selection Brush for the ďŹ rst time in version 2.0 of Elements. The tool lets you paint a selection onto your image. The size, shape and edge softness of the selection are based on the brush properties you currently have set. These can be altered in the Brush Presets pop-up palette located in the options bar. Book resources at: www.adv-elements.com

IMAGE CHANGES – BEYOND THE BASICS

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The tool can be used in two modes – Selection and Mask:

t 5IF Mask mode is particularly well suited for showing the soft or feathered edge selections made when painting with a soft-edged brush or when making detailed edits to the selection. The Mask mode works by reverse painting in the areas you want to ‘mask from the selection’. Holding down the Alt (Windows) or Option (Mac) keys whilst dragging the brush switches the tool from adding to the selection to taking away from the area.

Painting selections >> The Selection Brush tool allows the user to create selections by painting directly onto the picture surface.

Selection Brush modes >> The Selection Brush can work in either selection or mask modes.

Book resources at: www.adv-elements.com

IMAGE CHANGES – BEYOND THE BASICS

t 5IF Selection mode is used to paint over the area you wish to select.

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IMAGE CHANGES – BEYOND THE BASICS

6.03 The Quick Selection Tool Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0 | Difﬁculty level – Intermediate | Resources – Web image 6.02 Related techniques – 6.01, 6.03, 6.04, 6.05 | Tools used – Selection tools | Menus used – Select

Along with the Selection Brush tool, the new Quick Selection tool (previously the Magic Selection Brush) provides Elements users with a unique approach to creating and modifying selections. As we have seen, when using the Selection Brush the user must paint over the area to be encompassed by the selection. The accuracy of this painting step determines the accuracy of the ﬁnal selection. For example, painting over an edge accidentally will result in the creation of a selection that goes beyond this picture part.

Quick ‘magical’ selections >> The Quick Selection tool is coupled with the Selection Brush in the Elements 6 tool bar.

The Quick Selection tool provides a quicker, easier and, in most cases, more accurate way to make selections by combining both the drawing and color selection approaches of the other tools we have covered. To make a selection choose the tool from the tool bar. If it is hidden from view click the small arrow at the bottom right of the Selection Brush button to reveal the tool. The Quick Selection tool doesn’t require for you to scribble or place some dots on the picture parts that you want to select as was the case with the Magic Selection Brush. Instead Elements creates the selection as you paint over speciﬁc picture areas. You don’t have to be too careful with your initial painting as the program registers the color, tone and texture of the picture parts and then intelligently searches for other similar pixels to include in the selection.

Elements does the selection work >> As you are drawing with the Quick Selection tool Elements automatically generates a selection of all the adjacent areas in the picture that have similar color, texture or tone.

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Fine-tuning the areas selected with Quick Selection tool

To include other areas in the selection, click the Add to Selection button in the tool’s options bar (the cursor will change to include a small +) and paint over a new picture part. This step will cause Elements to regenerate the selection to include your changes. To remove an area from the selection, click on the Subtract from Selection button (cursor changes to the brush tip and a small - sign), and paint over the part to eliminate. Again, Elements will regenerate the selection to account for the changes. The Shift and Alt keys can be used whilst drawing to change modes on the ﬂy and add to or subtract from the selection.

Add to Selection

Subtract from Selection

Adding to or subtracting from quick selections >> The options bar of the Quick Selection tool contains several modes that can be used for altering or reﬁning the selection created by the tool. You can add other picture parts to a selection by clicking on the Add to Selection button and then painting over the new area. Parts already selected can be removed by changing to the Subtract from Selection mode and painting on these areas.

6.04 Advanced reﬁning of selection edges Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0 | Difﬁculty level – Intermediate | Resources – Web image 6.02 Related techniques – 6.01, 6.03, 6.04, 6.05 | Tools used – Selection tools | Menus used – Select

Photoshop Elements 6 also contains a new way to modify the edges of the selections you create. $BMMFE UIF 3Fm OF &EHF GFBUVSF JU JT BDDFTTFE FJUIFS WJB UIF CVUUPO OPX QSFTFOU JO BMM UIF TFMFDUJPO tools’ options bars, or via the Select > Refine Edge menu entry. The feature brings together three different controls for adjusting the edges of the selection with two selection edge preview options. The edge controls previously existed as separate entries in either the Select or Select > Modify menu. Bringing them together in the one dialog, and then providing live preview options as well, means that the refining activity will be a lot more accurate, as you will be able to see the results of the changes made to any of the controls reflected in the image itself. The feature’s dialog contains a Preview toggle, and Zoom and Move tools which can be used for navigating around enlarged images to check the properties of the selection edge. The edge controls themselves come in the form of the following three sliders: Book resources at: www.adv-elements.com

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Although this tool does a pretty good job of selecting alike areas, there will always be occasions when either too much or too little of the picture has been included. Just like the other tools we have looked at, the Quick Selection tool allows you to easily modify the selections it makes.

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Smooth – This option removes stepped or jagged selection edges. Feather – Softens the edge of the selection by a given pixel value. You can use this setting to provide a gradual transition between selected and non-selected areas. Contract/Expand – Increase or decrease the size of the area outlined by the selection by the percentage value selected.

Preview Modes >> The Quick Selection tool contains two preview modes. The standard option (left) shows the traditional marching ants outlining the selected area and the Mask view (right) displays a colored mask over the nonselected areas.

The Preview modes buttons at the bottom of the dialog provide a range of different ways to view the selection on your picture. The left button displays a standard selection edge superimposed on the photo. The edge is outlined using the familiar ‘marching ants’ line. The other button previews the selection as a mask, with the selected area displayed clear of color and the non-selected area colored with a speciﬁc color overlay. The color and transparency of the mask overlay can be altered by double-clicking the preview button.

Reﬁne Edges dialog >> The new Reﬁne Edge dialog brings together all the controls used for altering the characteristics of the selection’s edge into a single dialog. The feature also includes two edge preview options.

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Selecting the Mask option provides a much better way of viewing the quality of the selection edge as it is possible to preview the sharpness of the edge as well as how transparent the overlap is between selected and non-selected areas (feathering). For best results, use the Mask option in conjunction with the Zoom and Move tools to inspect an enlarged preview

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Press the ‘P’ key to turn off the preview of the current Reﬁne Edge settings and the ‘X’ key to temporarily display the Full Image view. Overlay options >> By double-clicking the Mask Preview option you can alter the color and opacity of the mask.

6.05 Saving and loading selections Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.04 Related techniques – 6.01, 6.03, 6.04, 6.05 | Tools used – Selection tools | Menus used – Select

Photoshop Elements thankfully gives you the option to save all your hard selecting work so that it can be used again later. With your selection active choose the Save Selection option from the Select menu. Your selection will now be saved as part of the file when you save in PSD, TIFF, PDF or JPEG 2000 formats. When you open the file later you can retrieve the selection by choosing Load Selection from the same menu. This feature is particularly useful when making sophisticated multi-step selections, as you can make sequential saves, marking your progress and ensuring that you never lose your work. The Save Selection dialog also provides you with another way to modify your selections. Here you will find the option to save a newly created selection in any of the four selection modes we looked at earlier. This provides you with an alternative method for building complex selections which is based on making a selection and then saving it as an addition. In this way you can create a sophisticated selection one step at a time.

Step 1 >> Use your favorite tool to make your ﬁrst selection.

Step 2 >> Save this as a new selection using the Select > Save Selection feature. Deselect (Ctrl + D).

Save Selection dialog >> You can also choose to modify your selection via the modes in the Save Selection dialog.

Step 3 >> Make a new selection and then save it using the Add to Selection mode in the Save dialog.

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of the selection edge, as you make changes to the dialog’s slider controls.

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6.06 Modifying selections Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.04 Related techniques – 6.01, 6.02, 6.04 | Tools used – Selection tools | Menus used – Select

Apart from adding to and subtracting from selections, Photoshop Elements also offers several other ways to modify your selections. We have already seen some of these options in the new Refine Edge feature. Here we look at them individually. Nested under the Select menu, most of these options change the positioning or character of the selection’s edge. They can provide quick ways to adjust your selections. Use Refine Edge if you want to preview the changes to the selection before application. t Select > Feather adjusts the smoothness of the transition between selected and non-selected areas. Low values are used for sharp-edged selections and higher values for softer ones. t Select > Modify > Border creates a border of a specific pixel width at the selection’s edge. Add color to this border using the Edit>Fill command. This option only creates soft edge borders. Use Edit>Stroke to create hard-edged lines around a selection. t Select > Modify > Smooth searches for unselected pixels within the nominated radius. If these areas are surrounded by selected pixels then they will be included in the selection; if the surrounding areas are not selected then they will be removed from the selection. t Select > Modify > Expand increases the size of the selection evenly by the pixel amount selected. t Select > Modify > Contract decreases the selection size by the pixel amount selected. t Select > Grow selects pixels adjacent to the selection that are within the tolerance range of the Magic Wand settings. t Select > Similar chooses all pixels throughout the picture that fall within the Magic Wand tolerance settings.

Border >> This option creates a softedged border, a speciﬁc number of pixels wide.

Smooth >> Use this option to include random unselected pixels in an otherwise selected area.

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Feather >> Use this option to create graduated edges to your selections.

Expand >> Increase a selection’s size by a given number of pixels with this command.

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Contract >> Reduce the size of the selection by a given number of pixels with this setting.

Grow >> Use this option to select all adjacent pixels that fall within the current Magic Wand settings.

Similar >> This command selects all other pixels in the whole image that fall within the Magic Wand settings.

6.07 Transforming a selection Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.06 Related techniques – 6.01, 6.02, 6.03, 6.05 | Tools used – Selection tools | Menus used – Image

By combining the abilities of the transformation tools that Photoshop Elements provides with several selection techniques you have the power to seamlessly change the way that your pictures look. The features grouped under the Transform heading include tools that can alter the scale and rotation of your picture as well as those that can be used to skew, distort or apply perspective to the image. These changes can be made to the photograph as a whole, to the contents of a layer, to a selection or to a shape that you have drawn. Not all transformation options are available in all situations. For example, the Distort & Perspective options cannot be applied to the contents of a text layer.

Select, copy and paste >> By manipulating selected parts of your picture you can change a straight image into something that on the one hand is obviously not real, but because it has been so seamlessly altered, it has an aspect of believability. Here the eyes and mouth of the subject have been selected, copied and enlarged before being blended back into the original picture.

Transform >> The Free Transform tool provides a fast and effective way to manipulate the size and shape of your pictures.

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When a transformation tool is active the image area will be surrounded by a â&#x20AC;&#x2DC;bounding boxâ&#x20AC;&#x2122; containing several adjustment handles at its corners and sides. By dragging these handles you will be able to manipulate the picture. Most experienced image editors use the Free Transform tool (Image > Transform > Free Transform) for all their transformation changes. With this one feature and a few different keyboard combinations you can perform all your image adjustments without selecting another feature. Use the guide below to help you use the Free Transform tool: t To scale â&#x20AC;&#x201C; drag on one of the corner handles of the bounding box. t To scale from the center â&#x20AC;&#x201C; press the Alt key whilst dragging a corner handle. t To maintain aspect ratio whilst scaling â&#x20AC;&#x201C; hold down the Shift key whilst dragging. t To rotate â&#x20AC;&#x201C; move the cursor outside the bounding box until it changes to a curved two-ended arrow, then click and drag to rotate the picture or drag the Rotate handle at the bottom of the bounding box. t To distort o IPME EPXO UIF $USM LFZ XIJMTU ESBHHJOH BOZ IBOEMF t To skew o IPME EPXO UIF $USM 4IJGU LFZT XIJMTU ESBHHJOH B TJEF IBOEMF t To apply a perspective change o IPME EPXO $USM "MU 4IJGU XIJMTU ESBHHJOH B DPSOFS handle. t To commit changes o EPVCMF DMJDL JOTJEF UIF CPVOEJOH CPY PS IJU &OUFS PS DMJDL UIF $PNNJU icon (green tick) at the bottom of the marquee. In the example the exaggerated eyes and mouth were created by ďŹ rstly selecting the face parts, GFBUIFSJOH UIF FEHF PG UIF TFMFDUJPO 4FMFDU 'FBUIFS BOE UIFO DPQZJOH &EJU $PQZ BOE QBTUJOH (Edit > Paste) each part onto a new layer. With the appropriate layer selected the parts were then enlarged using the Free Transform feature (Image > Transform > Free Transform) and distorted a little (Image > Transform > Distort) to suit the rest of the face. As a ďŹ nal step a soft-edged eraser was used to remove sections of the face parts that didnâ&#x20AC;&#x2122;t match the picture below. This step helped to blend changes into the original image.

Step 1 >> Copy and paste onto new layers parts of the picture that were selected using a feather.

Step 2 >> Change the size of the face parts and apply some distortion using the Free Transform tool. Double-click inside the bounding box to commit your changes.

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Step 3 >> Carefully erase the edge of the transformed face parts to blend them with the rest of the original image below.

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6.08 Precise control of selection size

There will be times when you will need to know the precise size of the selections you make. You can get this information from the Info palette (Window > Info) where Elements reports the width and height of your selection in the units selected in the Units preferences (Edit > Preferences > Units and Rulers). This dialog also shows the exact position of the cursor. This can be helpful when you need to start and end a selection at a set screen reference.

Info >> The Info palette shows the position of the cursor (a) as well as the size of the selection (b).

Fixed Size selections >> Make precise selections by inserting the dimensions directly into the Marquee’s option bar.

If instead of just viewing the dimensions of the selection you actually want to specify the size, you can input these values into the options bar of the Marquee tool. After selecting the tool, choose Fixed Size from the Style drop-down menu in the Options bar. You can then enter the value for width and height into the ﬁelds in the bar. Now when you click on the canvas with the Marquee tool, a selection of the precise dimensions you input will appear on the picture. As with the Info dialog the measurement units used here are controlled by the settings in the Units and Rulers preferences. Another way to precisely control the size of your selections is to use the Elements Grid system as a guide. Simply display the Grid over your picture (View >Snap To > Grid) and switch on the Snap to Grid option (View > Snap to Grid). Now as you are drawing a selection the cursor will align itself with the grid lines or intersections. The interval of the grid lines and spacings can be altered via the Grid preferences (Edit > Preferences > Grid).

Grid as guide >> Use the Elements Grid option to help make precise selection. Image courtesy of www.darranleal.com.au.

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IMAGE CHANGES – BEYOND THE BASICS

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 6.01, 6.02, 6.03, 6.04 | Tools used – Marquee | Menus used – Window, Edit, View

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Understanding layers In a lot of ways traditional ﬁlm-based shooting is very similar to digital photography. After all, apart from a few useful additions such as a preview screen on the back and a slot for my memory card, my digital camera is not unlike my ﬁlm camera (in fact they even share the same lenses). But thinking that these similarities extend to the pictures themselves can mean that you are missing out on some of the more powerful capabilities of your digital pictures.

Digital pictures are not always flat The traditional photograph contains all the picture elements in a single plane. Digital images captured by a camera or sourced from a scanner are also flat files. And for a lot of new digital photographers this is how their files remain – flat. All editing and enhancing work is conducted on the original picture, but things can be different. Most image editing packages contain the ability to use layers with your pictures. This feature releases your images from having to keep all their information in a flat file. Different image parts, added text and certain enhancement tasks can all be kept on separate layers. The layers are kept in a stack and the image you see on screen in the work area is a composite of all the layers. Sound confusing? Well try imagining for example that each of the image parts of a simple portrait photograph are stored on separate plastic sheets. These are your layers. The background sits at the bottom. The portrait is laid on top of the background and the text is placed on top. When viewed from above the solid part of each layer obscures the picture beneath. Whilst the picture parts are based on separate layers they can be moved, edited or enhanced independently of each other. If they are saved using a file format like Photoshop’s PSD file (which is layer friendly) all the layers will be preserved and present next time the file is opened.

Types of layers Image layers: This is the most basic and common layer type, containing any picture parts or image details. Background is a special type of image layer. Text layers: Designed solely for text, these layers allow the user to edit and enhance the text after the layer has been made. Fill layers: 6TFST DBO BMTP BQQMZ B 4PMJE $PMPS (SBEJFOU PS Pattern to an image as a separate layer.

Adjustment layers: These layers alter the layers that are arranged below them in the stack. They act as a ﬁlter through which the lower layers are viewed. You can use adjustment layers to perform many of the enhancement tasks that you would normally apply directly to an image layer without changing the image itself.

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Frame layers: From Elements 5.0 Adobe has included a new layer type to coincide with its Photo -BZPVU BOE 1IPUP #PPL QSPKFDUT $BMMFE UIF 'SBNF MBZFS JUT SPMF JT UP TUPSF CPUI UIF GSBNF BOE the picture that sits within it. Both the component parts remain as separate individual images despite being stored as one layer. What does this mean in day-to-day editing? Well it means that you can do things like change the size, shape and orientation of either the frame and picture combination, or the picture, independently of each other. Background layers: An image can only have one background layer. It is the bottom-most layer in the stack. No other layers can be moved beneath this layer. You cannot adjust this layerâ&#x20AC;&#x2122;s opacity or its blending mode. You can convert background layers to standard image layerâ&#x20AC;&#x2122;s by doubleclicking the layer in the Layers palette, setting your desired layer options in the dialog provided and then clicking OK.

The magic of Frame layers Adobe introduced Frame layers as part of its revamp of Photo Project creation in version 5.0. For most Elements users, frame layers are seen as a way to add decorative edges to their photos when creating albums or scrapbooking pages, but their quiet power goes beyond mere framing. Frame layers are built on a Photoshop Technology called Smart Objects. Professionals in the know, use Smart Objects as a way of protecting their photos from the damage associated with resizing, rotating and distorting image layers. A smart object keeps the pixels safe by applying the changes made to the layer to a copy of the pixels rather than the original photo. It may not be immediately apparent when you are ďŹ rst playing with your images in this way, but each time you make a change to the size or orientation of your photo the pixels are resampled. This means that the original pixels are being changed with each adjustment, and you know how I feel about that! Perform enough of these changes and gradually the image becomes less and less deďŹ ned. See the example images on the right. How can

Non-destructive resizing with Frame layers >> To give you an example of how destructive seemingly small changes to our image layers are I resized a standard image layer up and down three times. It is easy to see how blurry the photo has become (a). Next I added the same picture to a frame layer and performed exactly the same resizing activity. The result is an image as sharp as the original (b).

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Shape layers: Drawing with any of the shape tools creates a new vector-based Shape layer. The layer contains a thumbnail for the shape as well as the color of the layer.

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we avoid this degradation? Well, one way to ensure that your ďŹ les remain as crisp as the day that they were taken is to add the image to a frame layer before messing around with size and rotation. Donâ&#x20AC;&#x2122;t want a frame around the photo? No problem just add the â&#x20AC;&#x2DC;No Frameâ&#x20AC;&#x2122; frame layer to your document and then drag the picture from the project bin to the No Frame area in the composition. You can also simply drag a photo from the project bin onto an open document; it is added automatically as a Frame layer. Alternatively, you can right-click on a framed photo and DIPPTF $MFBS 'SBNF GSPN UIF DPOUFYU NFOV Now you can free transform to your heartâ&#x20AC;&#x2122;s content without the fear of resampling, and therefore damaging, the pixels.

No Frame frame layer >> To gain the abilities of a frame layer without the frame, select the No Frame option from the Frames section of the Content palette.

Layer types >> (a) Text or type layer, (b) image layer with chequered transparent area, (c) background layer, (d) Layers palette, (e) preview window with separate layers viewed as a composite image.

Adding layers When a picture is ďŹ rst downloaded from your digital camera or imported into Photoshop Elements it usually contains a single layer. It is a â&#x20AC;&#x2DC;ďŹ&#x201A;at ďŹ leâ&#x20AC;&#x2122;. By default the program classiďŹ es the picture as a background layer. You can add extra â&#x20AC;&#x2DC;emptyâ&#x20AC;&#x2122; layers to your picture by clicking the New Layer button at the bottom of the Layers palette or choosing the Layer option from the New sub-menu in the Layer menu (Layer > New > Layer). The new layer is positioned above your currently selected layer. Some actions, such as adding text with the Type tool, automatically create a new layer for the content. This is true when adding adjustment and ďŹ ll layers to your image. When selecting, copying and pasting image parts, Photoshop also creates a new layer for the copied portion of the picture. Also when you use the Background eraser or the Magic Eraser, a new layer will automatically be created. Book resources at: www.adv-elements.com

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Viewing layers

You can edit or enhance only one layer at a time. To select the layer that you want to change you need to click on the layer. At this point the layer will change to a different color from the rest in the stack. This layer is now the selected layer and can be edited in isolation from the others that make up the picture. Layers can be turned off by clicking the eye symbol on the far left of the layer so that it is no longer showing. This action removes the layer from view but not from the stack. You can turn the layer back on again by clicking the space where the eye symbol was. Holding down the Alt key whilst clicking on a layerâ&#x20AC;&#x2122;s eye symbol will turn off or hide all layers other than the one that you are clicking.

Manipulating layers Layers can be moved up and down the layer stack by click-dragging. Moving a layer upwards will mean that its picture content may obscure more of the details in the layers below. Moving downwards progressively positions the layerâ&#x20AC;&#x2122;s details further behind the picture parts of the layers above. You can reposition the content of any layers (except background layers) using the Move tool. Two or more layers can be linked together so that when the content of one layer is moved the other details follow QSFDJTFMZ 4JNQMZ NVMUJ TFMFDU UIF MBZFST JO UIF -BZFST QBMFUUF BOE UIFO DMJDL PO UIF $IBJO JDPO -JOL Layers button) at the top of the palette. The chain will be added to all the linked layers on the right of the thumbnail. Unwanted layers can be deleted by click-dragging them to the Dustbin icon at the top of the Layers palette.

Layer styles In early image editing programs creating a drop shadow edge to a picture was a process that involved many steps. Thankfully Elements includes this as one of the many built-in styles that can be quickly and easily applied to your layers. Users can add effects by clicking on the Effects palette tab in the Palettes pane and selecting a layer style from those listed in the Layer Styles section. You can edit the style settings by double-clicking on the small â&#x20AC;&#x2DC;fxâ&#x20AC;&#x2122; icon on the right of the thumbnail in the Layers palette. Book resources at: www.adv-elements.com

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Photoshop Elementsâ&#x20AC;&#x2122;s Layers palette displays all your layers and their settings in the one palette. If the palette isnâ&#x20AC;&#x2122;t already on screen when opening the program, it may be hidden in the Pallete Bin or you may have to choose the option from the Window menu (Window > Visible layers >> When the Eye icon Layers). The individual layers are displayed, one on top of the other, is present the layer is visible. Clicking in a â&#x20AC;&#x2DC;layer stackâ&#x20AC;&#x2122;. The image is viewed from the top down through the on the eye turns the icon off, removing the layer from the preview layers. When looking at the picture on screen we see a preview of how window. the image looks when all the layers are combined. Each layer is represented by a thumbnail on the left and a name on the right. The size of the thumbnail can be changed, as can the name of the layer. By default each new layer is named sequentially (layer 1, layer 2, layer 3). This is ďŹ ne when your image contains a few different picture parts, but for more complex illustrations it is helpful to rename the layers with titles that help to remind you of their content (portrait, sky, tree).

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Blending modes >> Changing the blending mode of upper layers will cause them to interact differently with the layers beneath. The example above shows how altering the blending mode of the text layer changes the way that it interacts with the image and background layers. (a) Normal mode. (b) Color Burn mode. (c) Difference mode. (d) Overlay mode. (e) Luminosity mode. (f) Color Dodge mode. (g) Exclusion mode. (h) Hue mode. (h) Linear mode.

Blending modes and opacity As well as layer styles, or effects, the opacity (how transparent a layer is) of each layer can be altered by dragging the Opacity slider down from 100% to the desired level of translucency. The lower the number the more detail will show through from the layers below. The Opacity slider is located at the top of the Layers palette and changes the selected layer only. On the left of the Opacity control is a drop-down menu containing a range of blending modes. The default selection is ‘normal’, which means that the detail in upper layers obscures the layers beneath. Switching to a different blending mode will alter the way in which the layers interact. For more details see the full blending mode example in the Appendix.

Layer shortcuts t To display Layers palette o $IPPTF Window>Layers t To access Layers options o $MJDL .PSF CVUUPO JO the upper right-hand corner of the Layers palette t To change the size of layer thumbnails o $IPPTF Palette options from the Layers Palette menu and select a thumbnail size t To make a new layer o $IPPTF -BZFS /FX -BZFS or click the New Layer button in the Layers palette Book resources at: www.adv-elements.com

t To create a new adjustment layer o $IPPTF Layer>New Adjustment Layer and select the layer type or click the New Adjustment Layer in the layers palette t To add a style or effect to a layer – Select the layer and choose a style from those listed in the Layer Styles section of the Artwork and Effects palette.

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Masking techniques

The digital version of masking is also designed to restrict effects to only certain portions of an image. Photoshop Elements provides a variety of ways to employ a masking system when editing your pictures.

6.09 Painting masks with the Selection Brush Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0 | Difﬁculty level – Intermediate | Resources – Web image 6.09 Related techniques – 6.02, 6.03 | Tools used – Selection Brush

The Selection Brush was a welcome addition to the Photoshop Elements tools line up when it was added in revision 2.0 of the program and, although its primary purpose is to aid the creation of complex selections, it can also be used in a ‘Rubylith’ Mask mode. Activate the mode by selecting the Mask option from the mode drop-down menu in the Tools options bar. Now when the brush is dragged across the surface of a picture it will leave a red, semi-transparent mask behind it. The mask will protect these parts of the picture from the effects of ﬁlters, color changes and tonal correction. The size and edge softness of the Selection Brush as well as the mask opacity (overlay opacity) and mask color can be altered in the options bar. Switching back to the Selection mode will turn off the mask and make a selection from the parts of the picture that weren’t painted. Whilst in Mask mode painting with the brush will add to the mask. Applying the brush in the Selection mode will add to the selection, which effectively is removing masked areas. You can also save carefully painted masks using the Save Selection option in the Select menu and pre-saved selections can be converted into a mask by loading the selection and then switching back to Mask mode. A quick tip for powers users – Alt-clicking the Layer Mask thumbnail displays shows the rubylith mask, which is handy when making lots of adjustments to the selected area.

Step 1 >> Choose the Selection Brush (under the Magic Selection Brush) from the tool box and switch the brush to Mask mode.

Step 2 >> Paint on the parts of the picture that you want to shield from the editing process.

Step 3 >> Apply the editing changes to the non-masked areas. Here we applied the Crystallize ﬁlter.

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IMAGE CHANGES – BEYOND THE BASICS

Masking in traditional photography is used to physically protect part of the picture from development or exposure. In black and white darkrooms this process often involved the positioning of specially cut ‘ruby’ red sheets over the photographic paper, which shielded this part of the picture from being exposed during the enlargement process.

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6.10 Fill and adjustment layer masks Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.09 Related techniques â&#x20AC;&#x201C; 6.07, 6.11, 6.12 | Menus used â&#x20AC;&#x201C; Layer

Another form of masking is available to Elements users via the Fill and Adjustment Layers features. Each time you add one of these layers to an image two thumbnails are created in the Layers palette. The one on the left controls the settings for the adjustment layer. Double-clicking this thumbnail brings up the dialog box and the settings used for the ďŹ ll or adjustment layer. The thumbnail on the right represents the layerâ&#x20AC;&#x2122;s mask which governs how and where the settings are applied to the image.

Eraser >> Erasing parts of the ďŹ ll layer reveals the picture beneath.

Black paint >> Painting the mask with black paint has the same effect as erasing.

White paint >> Painting with white paint restores the mask and the pattern.

The mask is a grayscale image. In its default state it is colored white, meaning that no part of the MBZFS T FGGFDUT BSF CFJOH NBTLFE PS IFME CBDL GSPN UIF QJDUVSF CFMPX $POWFSTFMZ JG UIF UIVNCOBJM is totally black then none of the layerâ&#x20AC;&#x2122;s effects is applied to the picture. In this monochrome world shades of gray equate to various levels of transparency. With this in mind we can control which parts of the picture are altered by the ďŹ ll or adjustment layer and which parts remain unchanged by painting (in black and white and gray) and erasing directly on the layer mask. 5P TUBSU FEJUJOH B MBZFS NBTL m STUMZ BQQMZ B m MM MBZFS TVDI BT 1BUUFSO UP UIF JNBHF $IFDL UP see that the default colors (white and black) are selected for the Elements foreground and background colors. Next select the Eraser tool, and with the ďŹ ll layer selected in the Layers palette, proceed to remove part of the layer. The pattern is removed and the picture beneath shows through and a black mark now appears in the layer thumbnail corresponding to your erasing actions. Switch to the Paint Brush tool and select black as your foreground color and paint onto the patterned surface. Again this action masks the picture beneath from the effects of the ďŹ ll layer and adds more black areas to the thumbnail. Painting with white as your foreground color restores the mask and paints back the pattern. You can experiment with transparent effects by painting on the mask with gray. The lighter the gray the more the pattern will dominate, the darker the gray the less the pattern will be seen. A similar semi-transparent effect can be achieved if the opacity of the eraser or brush is reduced. Book resources at: www.adv-elements.com

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6.11 Using selections with layer masks IMAGE CHANGES – BEYOND THE BASICS

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web image 6.08 | Related techniques – 6.09, 6.10, 6.12 | Tools used – Select

In addition to employing painting and erasing tools to work directly on the layer mask you can also use a selection in conjunction with an adjustment or fill layer to restrict the area of your image that is altered. Make a selection in the normal way and then, with the selection still active, create a new adjustment or fill layer. The selection confines the changes made by the new adjustment/fill layer. You will notice the selected area is colored white in the Layer Mask thumbnail. A layer mask made in this way can be edited using the same painting techniques as discussed above.

Selection >> By having a selection active when you make a new adjustment or ﬁll layer you immediately restrict the effects of this layer to just the conﬁnes of the selection.

6.12 ‘Group with Previous’ masks Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.09 | Related techniques – 6.09, 6.10, 6.110 | Menus used – Layer

The final masking technique that Photoshop Elements employs uses the special Group with Previous command found in the Layer menu. This command uses the transparency surrounding objects on a layer as a mask for the content of any layers that are above it in the stack. In the example the balloon image was placed above the test text layer. With the balloon layer active the Group with Previous command (Layer > Group with Previous) was selected. The example image now fills the text shape but is masked from showing through the rest of the layer by the transparency surrounding the type. This technique also works with shapes and filled selections drawn on a separate layer surrounded by transparency.

Step 1 >> Create some bold text in a new document with a white background layer.

Step 2 >> Copy and paste a color image in a layer above the text.

Step 3 >> Select the color layer and choose the Group with Previous command from the Layers menu.

Book resources at: www.adv-elements.com

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Step 1 >> Select Image > Mode > Grayscale and then click on the OK button in the Discard Color warning box. Step 2 >> Using the Levels control, map the dark pixels to black by dragging the black point slider to the right.

Step 3 >> Correct the highlights by dragging the white point slider to the left.

Converting color to black and white

Increase contrast >> By moving the black and white input sliders towards the center of the dialog you can increase the contrast of your picture.

One of the real advantages of shooting digital is the ease with which you can convert color images to black and white. Gone are the days of having to carry two camera bodies, one loaded with color ﬁlm the other with black and white. Now you simply shoot color all the time and then convert selected images to black and white using a few simple steps.

6.13 Changing the mode to grayscale Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Resources – Web image 6.13 | Related techniques – 6.14, 6.15 | Menus used – Image, Enhance

The simplest way to lose the colors in your picture is to convert the image to a grayscale. This process changes the photograph from having three color channels (red, green and blue) to being constructed of a single channel that contains the picture’s detail only. Often this conversion produces a ﬂat and lacklustre photograph and so a little manipulation of the tones is in order. My ﬁrst point of call to help solve this problem would always be the Levels dialog (Enhance > Adjust Lighting > Levels). Using this control you can make sure that your image tones are spread across the grayscale spectrum. Most grayscale conversion pictures need a general contrast increase. You can achieve this by moving the black and white input sliders towards the center of the dialog. Holding the Alt key down whilst you are moving the slider will enable you to preview the pixels that are being converted to pure black or pure white. Your aim is to map the darkest pixels in the picture to black and the lightest ones to white. Work carefully here as a heavy handed approach will produce pictures where delicate shadow and highlight details are lost forever. Book resources at: www.adv-elements.com

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Grayscale >> You can convert your color digital photographs to grayscale using two different methods in Adobe Photoshop Elements. The simplest is to change color modes from RGB to Grayscale. The alternative is to desaturate the photograph. This process has the added advantage of leaving the black and white picture in RGB mode so that color can be added to the monochrome later. Images created with either process do beneďŹ t from some adjustment of tones after conversion.

6.14 Desaturate the color ďŹ le Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Resources â&#x20AC;&#x201C; Web image 6.14 Related techniques â&#x20AC;&#x201C; 6.13, 6.15, 6.16 | Tools used â&#x20AC;&#x201C; Dodge and Burn-in | Menus used â&#x20AC;&#x201C; Image

Photoshop Elements uses the term â&#x20AC;&#x2DC;saturationâ&#x20AC;&#x2122; to refer to the strength of the colors in a picture. Increasing saturation makes the colors in a picture more vivid, decreasing saturation makes the IVFT XFBLFS 5IF QSPHSBN FNQMPZT UIF )VF 4BUVSBUJPO &OIBODF "EKVTU $PMPS )VF 4BUVSBUJPO control to adjust the colorâ&#x20AC;&#x2122;s strength. If the Saturation slider is moved all the way to the left of the dialog (to a setting of â&#x20AC;&#x201C;100) then all color is removed from the picture. You are effectively left with a grayscale or black and white photograph that is very similar to the â&#x20AC;&#x2DC;convert to grayscaleâ&#x20AC;&#x2122; version above but with one important difference â&#x20AC;&#x201C; the picture is still an RGB ďŹ le. This means that even though the photograph no longer contains any color, the color mode it is stored in is capable of supporting Book resources at: www.adv-elements.com

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Step 1 >> Select the Hue/Saturation control from the Adjust Color heading in the Enhance menu.

Step 2 >> Move the Saturation slider completely to the left, removing all color from the picture.

Step 3 >> Use the Dodging and Burning-in tools to lighten and darken selected areas of the picture.

color. So if you are wanting to try a little digital hand coloring, or experiment with pictures that contain monochrome as well as color components, then this is the technique for you. More details on these techniques can be found later in this chapter. Be warned though, once your picture is desaturated the color is lost for ever and so it is always a good idea to save a copy of the color version of the image before proceeding. :PV DBO TIPSUDVU UIF EFTBUVSBUJPO QSPDFTT CZ TFMFDUJOH &OIBODF "EKVTU $PMPS 3FNPWF $PMPS XIJDI QSPWJEFT UIF TBNF SFTVMUT BT VTJOH UIF )VF 4BUVSBUJPO DPOUSPM CVU JO B TJOHMF TUFQ Once the picture has been desaturated you may need to tweak the shadow, highlight and midtones using the Levels feature. Finally, add some drama to the picture by selectively lightening and darkening parts of the image using the Dodging and Burning-in tools. Used judiciously these devices can change the whole atmosphere of a photograph. In the example, I darkened the walls closest to the viewer and lightened those parts of the French alleyway that were in the background. These changes increased the sense of distance in the picture as well as helping to draw the viewerâ&#x20AC;&#x2122;s eyes into the picture.

Desaturation shortcut >> The Enhance > Adjust Color > Remove Color option is a shortcut that produces the same results as moving the Saturation slider to -100 in the Hue/ Saturation feature.

Book resources at: www.adv-elements.com

Saturation control >> By decreasing the saturation of the colors in a picture completely you convert the image to just black and white.

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6.15 A more sophisticated approach Despite the straightforward nature of the two conversion approaches detailed above, transforming a color photo to grayscale is not as simple as it first seems. Many converted images seem a little flat and lack the separation of tones that existed in the original photo. The trick with good conversions from color to grayscale is ensuring that the hues in the original picture are translated into distinct and different tones. For this reason no one conversion process will be suitable for all pictures. Take for instance the example of a red flower photographed against the background of rich green foliage. When converted to grayscale by switching modes or desaturating there is a tendency for both the red of the flower and the green of the leaves to be converted to the same gray tone, making the monochrome picture much less vibrant and dynamic than the original. In order to restore some visual separation between flower and background it is necessary to convert these hues to different grays. Just such a technique was developed by the Adobe evangelist, Russell Brown (www. russellbrown.com). The original method was designed for Photoshop but works just as well with Elements. It uses the Adjustment Layers technology in Photoshop Elements as a way to both convert the color image to black and white and also to control how the colors are represented in the grayscale. Like a lot of Russell’s techniques it leaves the original image unchanged in the background. Hence this style of image enhancing is called non-destructive editing.

Step 1 >> Make a new Hue/ Saturation layer above your background. Don’t make any changes to the default settings for this layer. Set the mode of the adjustment layer to Color. Label this layer ‘Filter’.

Step 2 >> Make a second Hue/Saturation adjustment layer above the Filter layer and alter the settings so Saturation is -100. Call this layer Black and White Film. The monochrome image now on screen is the standard result we would expect if we just desaturated the colored original.

Step 3 >> Next double-click on the layer thumbnail in the Filter layer and move the Hue slider. This changes the way that the color values are translated to black and white. Similarly, if you move the Saturation slider you can emphasize particular parts of the image.

Book resources at: www.adv-elements.com

IMAGE CHANGES – BEYOND THE BASICS

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Resources – Web image 6.15 Related techniques – 6.13, 6.14, 6.16 | Menus used – Layer

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS More control >> For more precise control of the separation of tones you can restrict your changes to a single color group (red, blue, green, cyan, magenta) by selecting it from the drop-down menu before manipulating the Hue and Saturation controls.

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Gray conversion options >> Photoshop Elements provides a variety of options when you are wanting to convert color pictures to a grayscale or black and white photo. (a) Original color photo. (b) Change to grayscale mode. (c) Desaturate the photo. (d) The Russell Brown technique.

6.16 The Convert to Black and White feature Suitable for Elements â&#x20AC;&#x201C; 6, 5.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Resources â&#x20AC;&#x201C; Web image 6.16 | Related techniques â&#x20AC;&#x201C; 6.13, 6.14, 6.15 | Menus used â&#x20AC;&#x201C; Enhance

Taking this idea further in Elements 5 Adobe introduced B OFX $POWFSU UP #MBDL BOE 8IJUF GFBUVSF &EJUPS &OIBODF $POWFSU UP #MBDL BOE 8IJUF *U QSPWJEFT the ability to customize the way that color areas are mapped to gray during the conversion process. The dialog consists of large before and after previews, a series of six conversion styles that are based on popular subject types or conversions and four slider control buttons for ďŹ ne-tuning the results. This feature provides the options for more sophisticated conversions by allowing the user to adjust which colors (red, green or blue) feature more prominently in the ďŹ nal result. Convert to Black and White >> From version 5.0 Photoshop Elements has contained a custom control for transforming color photos to grayscale. The Convert to Black and White feature allows you to control how the colors are mapped to gray. (a) Original color photo. (b) Desaturate or Remove Color conversion. (c) Convert to Black and White conversion emphasizing the blue areas in the original color photo.

Book resources at: www.adv-elements.com

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Before preview After preview

Feature tip and help link

Conversion style

Adjustment sliders

Convert to Black and White >> The Convert to Black and White dialog contains a before and after preview, six different conversion styles or ďŹ&#x201A;avor presets as well as a set of adjustment buttons that can be used for customizing the way that particular colors are mapped to gray.

This feature is great for situations where the color contrast of a scene isnâ&#x20AC;&#x2122;t reďŹ&#x201A;ected in the monochrome conversion. Imagine the color contrast of a red rose against green foliage. Using a simple DPOWFSTJPO GFBUVSF TVDI BT 3FNPWF $PMPS XPVME SFTVMU JO CPUI UIF SPTF BOE GPMJBHF CFJOH UIF TBNF UPOF PG HSBZ 8JUI $POWFSU UP #MBDL BOE 8IJUF UIF DPOUSBTU PG UIF PSJHJOBM DBO CF SFUBJOFE in the result by boosting or reducing the prominence of green or red parts of the picture.

Step 1 >> With a suitable color image open in the Full Edit workspace select the Convert to Black and White feature from the Enhance menu. Click through the different conversion styles menu checking the After preview for a suitable result. Click OK to apply the conversion, Reset to remove current settings or Cancel to quit the feature.

Step 2 >> For a more customized conversion start by selecting a conversion style that is closest to your desired result and then ďŹ ne-tune the results with one of the Adjustment Intensity sliders. The effects can be more dramatic by also applying the opposite adjustment in the other two color channels.

Step 3 >> In situations where the changes you make produce results that are undesirable you can return the after image back to its default state by clicking the Reset button in the top right of the dialog.

Book resources at: www.adv-elements.com

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Custom Black and White >> You can create your own custom black and white style presets by editing the bwconvert.txt ﬁle (f) located in the \Program Files\Adobe\Photoshop Elements 6.0\Required folder (e). Alternatively, you can download and copy my own version of this ﬁle to the directory. It contains four custom conversion options Dark Skies (a), Moody (b), Separate Red Green (c) and White Skin (d). After restarting Elements the new options will appear in the Styles menu of the feature (g).

6.17 Custom entries in Convert to Black and White Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Resources – Web image 6.17 | Related techniques – 6.13, 6.14, 6.15 | Menus used – Enhance

5IF QSFTFU TUZMF FOUSJFT JO UIF $POWFSU UP #MBDL BOE 8IJUF GFBUVSF BSF DPOUSPMMFE CZ B TJNQMF UFYU file located in the settings folders of the program. The features settings file is called ‘bwconvert.txt’ and is located in the C:\Program Files\Adobe\Photoshop Elements 6.0\Required folder. The file sets the values for the styles and can be easily edited if a user wants to have their own conversion preset values. Just make sure that you create a new line for each entry and follow the style of the other settings. You will also need to restart Elements for the new entries to take effect. Of course, I highly recommend backing up the installed version of the file so that you can easily restore the settings back to the default values. If all this sounds too difficult then just download my customized version of the ‘bwconvert.txt’ file and copy it to the C:\Program Files\Adobe\Photoshop Elements 6.0\Required folder. My version contains four extra presets (Dark Skies, Moody, Separate Red Green and White Skin) designed to extend the styles in the feature further and provide some example conversions that you might find useful. As with all styles, to fully suit your images, apply the style first and then tweak the results with the sliders. Book resources at: www.adv-elements.com

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6.17 The Gradient Map conversions Yet another way to convert a color image to grayscale is to employ the abilities of a Gradient Map Adjustment Layer. When set to a black to white gradient, this feature maps the tones and colors in an image so that they are evenly distributed along the gradientâ&#x20AC;&#x2122;s tonal range. This creates a conversion with good overall contrast, as the darkest point of the photo is mapped to black and the lightest to white, but by playing with the gradient itself, you can also tweak the brightness of other tonal areas in the image as well. So with this technique you get to make the conversion, and adjust how TIBEPXT NJEUPOFT BOE IJHIMJHIUT BSF NBQQFE UP HSBZ $PPM

Step 1 >> To start letâ&#x20AC;&#x2122;s make a simple Gradient Map grayscale conversion. Do this by adding a Gradient Map adjustment layer to the layers stack (Layer > New Adjustment Layer > Gradient Map). Next select a Black to White gradient from the drop-down menu. Click OK and the conversion is complete.

Step 2 >> To start to control how shadows midtones and highlights are mapped to gray we need to create a custom gradient In the Gradient Editor. Double-click on the Gradient Map thumbnail to open the featureâ&#x20AC;&#x2122;s dialog. Next click onto the displayed gradient to open the Gradient Editor.

Step 3 >> At the moment the gradient has a color control (called Stops) at either end of the gradient â&#x20AC;&#x201C; black and white. We want to add extra Stops for 25%, 50% and 75% brightness values. Do this by clicking just below the gradient. This adds a new Stop. Doubleclick the stop to open the Select Stop Color dialog. Type the gray value in the â&#x20AC;&#x2DC;Bâ&#x20AC;&#x2122; section for the HSB values. Click OK.

Step 4 >> Repeat the process adding in the other gray stops. Donâ&#x20AC;&#x2122;t worry too much about their position along the gradient as we can alter this, just try to ensure that the 25% brightness value is left of center, 50% about center and 75% brightness is right of center. Once all the stops have been created add a name for the gradient in the Name area and click the New button to add the gradient to those listed in the palette. Donâ&#x20AC;&#x2122;t click OK.

Step 5 >> To manipulate how the tones are mapped to gray click on a stop and drag it along the gradient in the Gradient Editor. In this example the shadows were lightened by dragging the 25% brightness stop to the left and midtones were darkened by dragging the 50% darkness to the right. The changes will be previewed in your image as long as the Preview option is ticked in the Gradient Map dialog.

Step 6 >> Finally to apply the conversion click the OK buttons in the Gradient Editor and the Gradient Map dialogs. The tones can be adjusted at a later date by double-clicking on the adjustment layer thumbnail and then clicking the gradient. This will display the Gradient Editor complete with your custom gradient containing the three additional brightness stops.

Book resources at: www.adv-elements.com

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Suitable for Elements â&#x20AC;&#x201C; 6, 5.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Resources â&#x20AC;&#x201C; Web image 6.17 | Related techniques â&#x20AC;&#x201C; 6.13, 6.14, 6.15 | Menus used â&#x20AC;&#x201C; Enhance

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6.19 Borrowing Photoshopâ&#x20AC;&#x2122;s Black and White Suitable for Elements â&#x20AC;&#x201C; 6, 5.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Resources â&#x20AC;&#x201C; Web image 6.19 | Related techniques â&#x20AC;&#x201C; 6.13, 6.14, 6.15 | Menus used â&#x20AC;&#x201C; Enhance

At the same time that Elements users were enjoying the monochrome mapping power of the $POWFSU UP #MBDL BOE 8IJUF GFBUVSF 1IPUPTIPQ $4 VTFST XFSF BMTP HJWFO B TQFDJBMJ[FE DPOWFS sion feature called, Black and White. The new feature is available for use directly on an image or via an Adjustment Layer. It contains six slider controls that adjust how speciďŹ c color ranges are mapped to gray. In addition, there is a toning option at the bottom of the dialog which provides the ability to tint the converted monochrome. Even though this is a Photoshop-only feature, we can make use of its color to gray mapping abilities. Just drag an existing Black and White adjustment layer from a document created in Photoshop, but opened into Elements, onto an Elements ďŹ le. Just like magic the layer is added to the Elements document and the conversion applied. Just in case you donâ&#x20AC;&#x2122;t have Photoshop handy I have created a special donor document called, Photoshop-Convert-to-Gray.psd, which contains ten different conversion layers. For you to have the Photoshop feature working on your documents just download the ďŹ le from the bookâ&#x20AC;&#x2122;s website, open it into the edit workspace and drag one of the layers to your Elements document.

Step 1 >> Start by opening both the Photoshop donor document (Photoshop-Convert-to-gray.psd) and the Elements ďŹ le that you want to enhance. Click onto the Photoshop document and scroll through the list of adjustment layers available in the document. Select a layer and clickdrag it onto the Elements document. The enhancement change will be immediately previewed in the workspace.

Book resources at: www.adv-elements.com

Step 2 >> Multiple Photoshop layers can be dragged onto the Elements document and their effects hidden or applied by clicking the â&#x20AC;&#x2DC;eyeâ&#x20AC;&#x2122; icon on the left of the layer entry.

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Advanced dodging and burning-in

I would think that most new users to Photoshop Elements would experience much of the same excitement as I did when they ﬁrst discover the Dodge and Burn-in tools. For the majority of simple enhancement tasks a few quick strokes of these tools will provide plenty of control over your picture’s tones, but there are occasions when you need a little more ﬂexibility. I use the following techniques to provide a little more customization to my dodging and burning-in in my work.

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After years of my ‘hit and miss’ approach to dodging and burning in the darkroom I can still remember my reaction to seeing Photoshop Elements performing real-time lightening and darkening – ‘You are kidding!’. Not only could I paint in light and dark areas on my picture using a soft-edged brush, I could also vary the strength of the effect and the size of the brush used for application. In addition, I could choose to alter shadow, midtones or highlights separately and ‘undo’ my actions with a single keystroke. All this ﬂexibility and with the lights on as well!

Input and output sliders >> (a) Black, midtone and white Input sliders. (b) Black and white Output sliders.

6.20 Using selections to change tone Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web Image 6.20 Related Techniques – 6.18 | Tools used – Selection tools| Menus used – Select

You can evenly alter the tone of a large area of your picture quickly by making a feathered selection of the area ﬁrst and then using the Levels control to darken or lighten the pixels. The amount you feather the selection will determine how soft the transition will be between dodged or burnt areas and the original picture. Using the Levels feature gives you great control over the brightness of shadow, midtone and highlight areas. Required image change Action to take By manipulating the Input and Output sliders you can selectively alter speciﬁc tones in your image. You can also decrease or increase the contrast of the selection as well. Use this table to help get you started.

To lighten the midtones of a selected area

Move the midpoint input triangle to the left

To darken the midtones of a selected area

Move the midpoint input triangle to the right

To lighten the midtones and highlights

Move the white point input triangle to the left

To darken the midtones and shadows

Move the black point input triangle to the right

To lighten the shadow tones

Move the black point output triangle to the right

To darken the highlight tones

Move the white point output triangle to the left

To decrease contrast

Move the white and black point Output sliders closer together

To increase contrast

Move the white and black point Input sliders closer together Book resources at: www.adv-elements.com

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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Step 1 >> Using one of the selection tools draw a rough selection around the area to dodge or burn-in.

Step 2 >> Feather and then inverse the selection. Use a large pixel amount for high-resolution pictures.

Step 3 >> With the selection still active manipulate the Levels Input and Output sliders to darken/lighten tones.

Pro’s Tip: Non-destructive dodging and burning-in If you want to dodge and burn but not make any permanent changes to the picture you can use the same feathered selection technique, but apply the changes through an adjustment layer. Make the selection as before, feathering (Select > Feather or Reﬁne Edge) the edge and inversing (Select > Inverse) the selection. 8JUI UIF TFMFDUJPO TUJMM BDUJWF DMJDL POUP UIF $SFBUF /FX "EKVTUNFOU -BZFS CVUUPO PO UIF UPQ PG UIF -BZFST palette and choose Levels. If the Layers palette is not visible then you can perform the same action via the Layer menu (Layer > New Adjustment Layer). The Levels dialog appears and any changes made with the sliders alter the tones in the selected area of the picture just as before. The difference with this approach is that the dodging and burning-in takes place via an adjustment layer, leaving the original picture unchanged in the layer beneath. The selection is used as a basis to form a mask in the adjustment layer. We view the levels changes through the clear areas of this mask only. A second advantage to this approach is that the levels settings can be Step 1 >> With your feathered Step 2 >> Select the Levels adjustment changed at a later date. Simply selection active click the New layer and adjust the dialog’s settings Adjustment Layer button. to Dodge and Burn-in. double-click the thumbnail on the left-hand side of the layer and alter the Levels settings. A second non-destructive approach that was pioneered by Julianne Kost starts with you creating two empty layers above the background or image layer. Name them Dodge and Burn and set the blending mode for both of them to Soft Light. Using a Black brush at a low opacity (10–15%) paint on the burn layer to darken areas. Use a White brush at the same opacity on the dodge layer to lighten. This provides a nondestructive, subtle and artistic method for dodging and burning-in. Book resources at: www.adv-elements.com

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Dodging and burning-in >> Dodging and burning-in has always been used to add a little visual drama into photographs. The careful lightening and darkening of areas of the print can create a sense of depth and also help to direct the viewerâ&#x20AC;&#x2122;s eye to speciďŹ c focal points in the image. Image courtesy of www.ablestock.com Copyright 2005.

6.21 Erase back through tonal layers Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.20 | Related Techniques â&#x20AC;&#x201C; 6.16 | Tools used â&#x20AC;&#x201C; Eraser Menus used â&#x20AC;&#x201C; Enhance, Layer

A more artistic approach to dodging and burning-in can be found in a technique that involves making several different copies of the base picture. The background layer can be copied by either choosing Layer > Duplicate -BZFS PS CZ ESBHHJOH UIF MBZFS UP UIF $SFBUF /FX -BZFS CVUUPO BU UIF CPU tom of the Layers palette. Each copy is stored on a separate layer and the overall tone of the duplicate image is changed using the Layers control. In the example I have created four layers, labelled them light, midtone, dark and very dark, and changed their tones accordingly. Next I selected the Eraser tool, set the mode to brush, the edge option to soft and the opacity to 20%. I then clicked on the Eye icon in both the light and midtone layers and selected the dark layer. Using the Eraser in overlapping strokes, I gradually removed sections of

Dodge and burn via erase >> Make creative tonal changes using the Eraser tool and several adjusted layer copies. (a) Light copy. (b) Midtone/normal copy. (c) Dark copy. (d) Very dark copy.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

the dark layer to reveal the very dark layer beneath. I then selected the midtone layer and performed the same action and ﬁnally I selected the light layer and erased sections to reveal the darker layers below. If this all sounds a little confusing, try thinking of the erasing action as actually painting the image darker, or burning the picture area in, and take my advice – make sure that you name your layers as you create them. This technique works particularly well if used with a graphics tablet as the opacity of the erasing stroke can be linked to the pressure on the stylus. Pressing harder with the stylus erases more of the layer and creates a greater change. Lighter strokes can be used to produce more subtle adjustments.

Step 1 >> Make several copies of the basic image layer by dragging the layer to the Create New Layer button.

Step 2 >> Select each layer in turn and alter the overall brightness using the Levels dialog.

Step 3 >> Rename the layers by double-clicking the names in the Layers palette.

Step 4 >> Turn off the Eye icon for the light and midtone layers and select the dark layer.

Step 5 >> Using the Eraser tool remove parts of the dark layer to reveal the very dark picture below.

Step 6 >> Work your way through the other layers gradually removing unwanted areas to build up the picture.

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Masked based layers IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

To ensure the maximum ability to customize how the layers are applied you can make use of the mask in a No Settings adjustment layer to hide or reveal the detail for any particular layer. To work this way add No Settings adjustment layers below each of the top three image layers. Then use the Group with Previous command to link the image and adjustment layers.

Step 1 >> Start by adding a No Settings adjustment layer below each of the image layers. Next Select the image layer and then Choose Layer > Group With Previous to view the layer detail through the adjustment layer mask.

Step 2 >> After selecting the Adjustment Layer Mask use a black Brush to paint in the areas of the layer that will be hidden from view (that will allow the detail from beneath to show through).

6.22 Paint on dodging and burning-in Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.22 | Related Techniques â&#x20AC;&#x201C; 6.20, 6.21 | Tools used â&#x20AC;&#x201C; Brush Menus used â&#x20AC;&#x201C; Layer

What if you want the ďŹ&#x201A;exibility of painting in your density changes (dodging and burning) but wanted to apply these changes nondestructively to your photo? Well, a solution can be found by combining aspects of the last technique with our understanding of adjustment layers and their associated layer masks. Start by adding a Levels adjustment layer (Editor: Layer > New Adjustment Layer > Levels) to your photo. In the Levels dialog drag the Input midpoint slider to the right and the Output white point slider to the left. This will create an adjustment layer effect that darkens the whole image. Think of this change as how the image would look JG ZPV BQQMJFE UIF #VSO UPPM UP UIF XIPMF QJDUVSF $MJDL 0, UP BQQMZ the change. Nothing new here you say. True, but what if we could selectively paint in this effect rather than apply it to the whole image? 8FMM IFSF JT UIF USJDL $MJDL PO UIF NBTL PG UIF BEKVTUNFOU MBZFS BOE ďŹ ll it with black (Editor: Edit > Fill Layer). Remember black hides the adjustment layer effect so you should see the original tones of your photo restored in the preview window. With the mask still selected choose a soft-edged brush, lower the opacity slightly and make sure the paint colour is white. Now paint onto the surface of the photo. The painted areas will darken. In reality you are not painting the photo but rather painting the mask and in so doing adding the adjustment layer effect in these areas.

â&#x20AC;&#x2DC;Paint onâ&#x20AC;&#x2122; image changes >> Use the mask of the Levels adjustment layer to paint burn and dodge effects nondestructively onto your photos.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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Step 1 >> Create a new Levels adjustment layer that darkens the photo.

Step 2 >> Select the layer mask of the adjustment layer in the Layers palette and ﬁll with black.

Step 3 >> To burn non-destructively brush onto the photo with white whilst the layer mask is still selected.

6.23 Blend mode Dodge and Burn Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.20 Related Techniques – 6.20, 6.21 | Tools used – Brush | Menus used – Layer

One ﬁnal technique for dodging and burning makes use of the Soft Light Blend Mode to change the brightness of different picture parts non-destructively. Start by adding a new layer above the background or main image layer. Next change the layer’s Blend Mode setting to Soft Light. Now target the new layer and with a black soft-edged brush paint over the picture areas to be darkened. To lighten a portion of the image, switch to a white foreground color (click ‘x’ for a quick change between foreground and background colors) and paint over these areas. The Blending Mode applies the changes in brightness and the fact that the painting is stored in a separate layer makes the technique non-destructive.

Step 1 >> Create a new layer and then change the Layer Blend Mode to Soft Light.

Step 2 >> Target the new layer and paint over the areas to be burned in with a black soft-edged brush.

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Step 3 >> To lighten a picture part, switch the foreground color to white and paint again. Adjust the brushes opacity to ﬁne tune the changes.

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Enhance your poorly exposed pictures

The best way to solve these problems is to re-shoot your picture using an aperture and shutter combination that will produce a well-exposed image but, as we all know, sometimes a ‘re-shoot’ is just not possible. So how can Photoshop Elements help us enhance our poorly exposed pictures? I have found the following techniques particularly helpful when trying to enhance, or should that be disguise, images that are suffering from bad exposure.

6.24 Screening image layers to enhance tones Suitable for Elements – 6, 5.0, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.24 Related Techniques – 6.20 | Menus used – Layer, Enhance

The shadow and midtones of a picture are areas that suffer greatly when a photograph is underexposed. Valuable details are lost, the individual tones are too dark and the whole area is lacking in contrast. One way to help rectify this problem is to make an exact copy of the pictures and then combine the two images together in order to multiply the apparent detail and tone in the shadow areas. Photoshop Elements, via layers and blending modes, provides us with the tools necessary to perform these actions.

Step 1 >> Copy the background layer by dragging it to the New Layer button in the Layers dialog.

Step 2 >> Select the copied layer and then change the blending mode to Screen.

Step 3 >> As a ﬁnal touch insert a Levels Adjustment layer between the two layers. Peg the black and white points and lighten the midtones by dragging the midpoint to the left.

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IMAGE CHANGES – BEYOND THE BASICS

Good exposure is the cornerstone of great images. No matter how good your subject is, how well you have composed the image or how brilliantly you captured the scene, if your exposure is a little astray then you will be left with a less than perfect result. This is just as true for digital images as it was for traditional photographs. Overexposure leads to delicate highlight detail being recorded as pure white; underexposure on the other hand produces a picture with little detail in the shadow areas.

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Firstly, duplicate the background (image layer) by dragging it to the New Layer button at the bottom of the Layers dialog. Now, with the copy layer selected, change the layer blending mode to Screen. You should see an immediate brightening of the picture and the appearance of more detail in the shadow areas.

IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

After duplicating image and changing the blending mode to Screen

As a ďŹ nal tweaking of the image insert a Levels adjustment layer between the two layers. Do this by clicking on the bottom layer ďŹ rst and then selecting Levels from the drop-down list found XIFO DMJDLJOH UIF $SFBUF /FX "EKVTUNFOU -BZFS CVUUPO BU UIF CPUUPN PG UIF -BZFST QBMFUUF 1FH the highlights and shadows of the picture by moving the black and white points towards the center until they meet the ďŹ rst pixels in the histogram. Next, move the midtone to the left to increase the overall brightness of the image.

Re-shot with exposure compensation

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Correcting underexposure >> The best way to guarantee a great looking image where the tones are well distributed is to ensure that your exposure settings are correct before pushing the button. If, as is the case in this example, your camera meter is fooled by the scene then you can rescue an underexposed picture using a technique that involves duplicating the base image and then selecting the Screen option as the blending mode.

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IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Solving exposure problems when shooting The statue picture not only provides a great example for this technique but also demonstrates how such underexposure can occur. Set against a white overcast sky this dark statue was underexposed because the cameraâ&#x20AC;&#x2122;s meter was fooled by the bright sky behind the subject and therefore provided a shutter/aperture combination which was too dark. The thinking photographer would have predicted this problem and used the Exposure $PNQFOTBUJPO TZTUFN PO UIF camera to increase exposure by one to one-and-one-half stops to adjust for the back lighting. Most mid range digital cameras and above incorporate an Exposure Override system like this.

Exposure compensation >> Use the cameraâ&#x20AC;&#x2122;s Exposure Compensation system to override your cameraâ&#x20AC;&#x2122;s settings.

To try this for yourself, the next time you encounter a back lit scene shoot two pictures â&#x20AC;&#x201C; one with the DBNFSB TFU UP BVUP BOE UIF PUIFS XIFSF ZPV IBWF BEEFE UP UIF FYQPTVSF $PNQBSF UIF results later on the desktop, or better still, check your exposure in the ďŹ eld by examining the histogram graph of your image on you cameraâ&#x20AC;&#x2122;s monitor. This graph works exactly the same way as the graph in the Levels feature in Photoshop Elements. It displays the spread of tones of your image across a grayscale from black to white. Underexposure will result in a graph that bunches towards the black end of the spectrum whereas overexposure moves the pixels towards the white point. A simple check of this graph when shooting can indicate whether you need to adjust your camera and re-shoot to compensate for an exposure problem.

Step 1 >> With the image at 100% magniďŹ cation apply the Add Noise ďŹ lter with Uniform/Monochrome settings.

Step 2 >> Select Burn-in tool, reduce exposure to 10% and choose midtone range. Set brush size and edge softness.

Step 3 >> Burn-in the white area using several overlapping strokes to build up the effect. Change to Shadow range and repeat if necessary.

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IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Those of you who are intimate with Elements will no doubt be asking â&#x20AC;&#x2DC;Why not just use the Fill Flash or Shadows/Highlights feature to ďŹ x this underexposure problem?â&#x20AC;&#x2122; and you are right to ask that question. The Fill Flash option is a great tool for lightening mid to dark tones that have plenty of details, but I have found that this â&#x20AC;&#x2DC;duplication layersâ&#x20AC;&#x2122; technique provides a more pleasing result for underexposed images with little shadow information.

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6.25 Adding detail to highlights and shadows

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Tools used – Dodging and Burning-in Menus used – Filter

Sometimes, despite the utmost care on behalf of the photographer, digital images are captured with little or no shadow or highlight details. This scenario should ring true for any reader who has had the pleasure of photographing in very sunny countries. Along with the warmth, strong sun can provide a problem with contrast for the photographer. The deepest shadows and the brightest highlights are so far apart that even the best digital cameras have difficulty in recording all the tones. The result is a picture where either shadow or highlight detail (or in some extreme cases both) is not recorded. These parts of the picture are converted to pure black and white pixels in a process referred to as ‘clipping’. The same scenario can occur when using a scanner to convert slide or film originals into digital files. Incorrect scanner settings coupled with slides that are very dark or negatives that have been overdeveloped are the circumstances that most often produce ‘clipped’ files. When presented with such pictures the experienced Elements user will attempt to restore detail in the highlight and shadow areas using the program’s Dodging and Burning-in tools. But often such action only results in murky gray highlights and washed out shadow areas. The problem is that the program has no detail in these parts to actually lighten or darken. A solution to this scenario is to add a little (very little) texture to the image and then dodge and burn-in. The texture breaks up the pure white and pure black areas by filling these picture parts with random multi-tone (black, gray and white) pixels. This gives the tools some detail, albeit artificially created, to work on.

Texture burn-in >> (a) Original image with blown highlights. (b) Highlights burnt in using Burn-in tool. (c) Highlights burnt in after adding a little texture.

I use the Add Noise filter (Filter > Noise > Add Noise) to provide the texture and then select the Dodging tool set to midtones to work on the dark tones, or you could use the Burning-in tool also set to midtones to work on the highlights. A low exposure value of around 10% is coupled with repeated strokes over the offending area. To restrict the noise to just the highlight areas you could select these first using the Magic Wand and then apply the Noise filter.

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IMAGE CHANGES – BEYOND THE BASICS

Tinted monochromes One of the most enduring techniques utilized by photographers the world over is the practice of toning or changing the color of their black and white prints. The Sepia tone (brown) look has come to be linked with quality image production partly because it was a process that increased the longevity of black and white pictures and partly because only committed photographers would take their work through this extra processing step. Digital photographers have the tools at hand to not only ‘tone’ their black and white images but also to apply this same technique to their color ones.

Toning >> Use the Hue/Saturation control (Enhance > Adjust Color > Hue/ Saturation) to quickly and effectively add a tint to your color images.

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IMAGE CHANGES – BEYOND THE BASICS

This technique does have its down side. It doesn’t recreate lost details and you will need to degrade your image by making it more noisy before you can dodge and burn. So it can’t be considered a magic ‘cure all’ for problem pictures but it can help you get a little detail into that annoyingly white highlight or that equally frustrating blocked shadow area.

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6.26 Using Hue and Saturation to tone your pictures Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.26 Related techniques â&#x20AC;&#x201C; 6.27 | Menus used â&#x20AC;&#x201C; Enhance

The simplest and fastest way to add color is to use the Hue/Saturation control (Enhance > Adjust $PMPS )VF 4BUVSBUJPO 5IJT DBO CF BQQMJFE EJSFDUMZ UP UIF XIPMF JNBHF PS BT BO BEKVTUNFOU layer (Layer > New Adjustment Layer > Hue Saturation). To change the feature into a toning UPPM DMJDL UIF $PMPSJ[F PQUJPO JO UIF CPUUPN right of the box. The picture will switch to a single color monochrome (one color plus white and black). The Hue slider now controls the color of your tone. The sepia look in the example is a value of 30 on the Hue slider. The Saturation slider varies the strength of the color. The Saturation value used in the example was 25. The Lightness slider adjusts the brightness of the image but changes of this nature should be left for the Levels feature. The predictability of this digital toning Hue/Saturation toning >> Check the Colorize option to system means that you can achieve the convert the dialog to Toning mode. same tint in each image for a whole series of pictures. The recipes for regularly used tones, or favorite colors, can easily be noted down for later use or if toning using an adjustment layer then the layer can be dragged from one image to another. You can even create a Toning palette like the example on the next page, which provides a range of tint options as well as hue strengths.

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IMAGE CHANGES – BEYOND THE BASICS Toner recipes>> Use the recipes for the tints below to help guide you when toning using the Hue/ Saturation control. Simply plug in the following numbers for the Hue, Saturation and Lightness sliders. (a) 0, 75, 0 (b) 0, 50, 0 (c) 0, 25, 0 (d) 30, 75, 0 (e) 30, 50, 0 (f) 30, 25, 0 (g) 80, 75, 0 (h) 80, 50, 0 (i) 80, 25, 0 (j) 190, 75, 0 (k) 190, 50, 0 (l) 190, 25, 0 (m) 250, 75, 0 (n) 250, 50, 0 (o) 250, 25, 0

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6.27 Tinting borrowed from Photoshop Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.26 Related Techniques â&#x20AC;&#x201C; 6.26, 6.28 | Tools used â&#x20AC;&#x201C; Brush | Menus used â&#x20AC;&#x201C; Layer

We have already seen how we can borrow adjustment layers from Photoshop documents to handle our conversions to grayscale, but there is also the opportunity to tint your photos with the same Black and White feature. Nestled at the bottom of the dialog is a tint control that contains the same Hue and Saturation sliders that feature in the Hue Saturation adjustment layer. After setting the conversion sliders, ticking the Tint options changes the image from a grayscale to a toned monochrome. The Hue slider determines the color of the tint and the Saturation slider the strength of the tint color. To gain access to this Photoshop feature simply drag a Black and White adjustment layer from UIF EPOPS EPDVNFOU A1IPUPTIPQ $POWFSU UP gray-tinting.psdâ&#x20AC;&#x2122;) which is available from the bookâ&#x20AC;&#x2122;s website, to an open Elements ďŹ le. There are several different tinting adjustment layers to choose from.

Step 1 >> Start by opening both the Photoshop donor document (Photoshop-Convert-to-gray-tinting.psd) and the Elements ďŹ le that you want to enhance. Click onto the Photoshop document and scroll through the list of adjustment layers available in the document. Select a layer and click-drag it onto the Elements document. The enhancement change will be immediately previewed in the workspace.

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Photoshopâ&#x20AC;&#x2122;s Black and White feature >> After borrowing the Black and White adjustment layer, Elements users can open the featureâ&#x20AC;&#x2122;s dialog by doubleclicking the layerâ&#x20AC;&#x2122;s thumbnail. At the base of the dialog is a Tint option that provides the opportunity for you to tone the images you convert to grayscale with the feature.

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Split toning

For example, when an image is split toned with sepia ďŹ rst and then blue toner the resultant picture has warm (brown) highlights and midtones, and cool (blue) shadows. Getting the right toning balance between the two solutions was difďŹ cult and then trying to repeat the process uniformly over a series of images was even harder. Thankfully I can replicate the results of split toning in my digital picture with a lot less trouble and a lot more predictability.

Split tone >> With the aid of some tricky selection techniques it is possible to tint different tonal ranges of an image with alternative colors. This style of tinting is called split toning and traditionally is created by passing a photographic print through multiple toning baths.

6.28 Select and tone Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate| Resources â&#x20AC;&#x201C; Web image 6.28 Related techniques â&#x20AC;&#x201C; 6.26 | Tools used â&#x20AC;&#x201C; Magic Wand | Menus used â&#x20AC;&#x201C; Select, Enhance

In order to tint a select range of tones such as midtones and shadows I must ďŹ rst select these areas of the image. The Magic Wand tool makes selections based on color and tone and so is QFSGFDUMZ TVJUFE GPS UIJT UZQF PG TFMFDUJPO /PSNBMMZ XF XPVME VTF UIJT UPPM XJUI UIF $POUJHVPVT option turned on so that the selection comprises pixels that sit next to each other, but for this Book resources at: www.adv-elements.com

IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Once you have mastered the art of toning your pictures it is time to spread your â&#x20AC;&#x2DC;tintingâ&#x20AC;&#x2122; wings a little. One of my favorite after-printing effects back in my darkroom days was split toning. This process involved passing a completed black and white print through two differently colored and separate toning baths. This resulted in the print containing a mixture of two different tints.

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

task turn this option off. The Tolerance value for the tool can range from 0 to 255. This setting determines how close to the selected pixel’s tone the other pixels need to be before they too are included in the selection. The 0 setting is used to select other pixels in the image with exactly the same color and tone, whereas a setting of 20 will select other pixels that vary by as much as 20 tonal/color steps from the original. With this in mind we can easily employ this tool to select just the shadow and midtones of an image by setting the tolerance to a value of about 120 and then selecting the darkest part of the image (which we will assume has a value of 0 and therefore is black). The Magic Wand will then search the picture for pixels with a tonal value between 0 and 120. The resultant selection will include both shadows and midtones. It is then a simple matter of using the Hue/Saturation control to colorize these tones. To tint the rest of the pixels in the picture in an alternative color you must ﬁrst invert the selection (Select>Inverse) and then repeat the Hue/ Saturation toning procedure. To soften the transition at the split of the two colors apply a feather of 1 or 2 pixels (Select > Feather) after your initial selection.

Magic Wand settings >> When using the Magic Wand to select a range of tones in an image be sure to turn off the Contiguous setting, increase the Tolerance value and then select your reference pixel.

Step 1 >> Select the Magic Wand tool, adjust the Tolerance value and deselect the Contiguous option.

Step 2 >> Feather the selection by a value of 1 or 2 pixels to soften the split between toning colors.

Step 3 >> Tone the selected areas using the Hue/Saturation control.

Step 4 >> Inverse the selection and tone the remaining pixels using an alternative color.

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6.29 Two-layer erase You can extend the split toning idea beyond its darkroom origins by using this technique to create an image where one part of the picture is toned one color whilst the rest is colored in an alternative hue. To achieve this effect duplicate the image layer and then select and tone each layer in turn. Then use the mask from a No Settings adjustment layer to remove parts of the upper layer to reveal the color of the layer beneath.

Erasing toned layers>> By duplicating the image layer and then toning the two layers it is possible to use a No Settings adjustment layer mask to erase the upper layer to reveal the alternate colored layer below.

Step 1 >> Duplicate the base image layer by dragging it to the New Layer button at the bottom of the Layers dialog.

Step 2 >> Select each layer in turn and tone using the Hue/Saturation control set to Colorize. Select the lower layer and add a new Levels Adjustment Layer with no settings applied between the layers.

Step 3 >> Select the uppermost layer and select Layer > Group with Previous. Now select the layer mask and a black soft brush and paint the details from the layer beneath.

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IMAGE CHANGES – BEYOND THE BASICS

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.29 Related Techniques – 6.28 | Tools used – Eraser | Menus used – Layer, Enhance

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6.30 Color Variations based split toning Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.30 | Related Techniques â&#x20AC;&#x201C; 6.28, 6.29 | Tools used â&#x20AC;&#x201C; Brush | Menus used â&#x20AC;&#x201C; Layer

5IF $PMPS #BMBODF GFBUVSF JO 1IPUPTIPQ QSPWJEFT B VOJRVF XBZ PG DSFBUJOH TQMJU UPOFT "T UIF GFBUVSF DPOUBJOT UIF BCJMJUZ UP OPU POMZ UJOU B HSBZTDBMF JNBHF UIBU JT JO 3(# $PMPS NPEF CVU BMTP limit this tinting to one of three tonal ranges, shadows, midtones or highlights, it is the perfect tool for creating great split tones. The feature is also available as an Adjustment Layer meaning that split tones can be applied in Photoshop non-destructively. 5IBOLGVMMZ UIF &OIBODF "EKVTU $PMPS $PMPS 7BSJBUJPOT GFBUVSF PGGFST UIF TBNF UJOUJOH BCJMJUJFT UIBU BSF DVTUPNJ[FE GPS TQFDJm D UPOBM SBOHFT 5P TUBSU UIF UPOJOH QSPDFTT VTF UIF $POWFSU UP #MBDL BOE 8IJUF GFBUVSF UP DIBOHF UIF DPMPS JNBHF UP HSBZTDBMF CVU TUJMM SFUBJO UIF 3(# $PMPS NPEF /FYU PQFO UIF $PMPS 7BSJBUJPOT GFBUVSF BOE UBSHFU UIF 4IBEPXT DMJDL POUP POF PG UIF DPMPSFE thumbnails a couple of times to add a tint to the shadows. Next choose the highlight setting and add a different color here. Hey presto! A split-toned print.

Step 1 >> Start by converting the color original to gray using the Convert to Black and White feature. This removes the color but maintains the RGB Color mode of the ďŹ le allowing for the split toning later.

Step 2 >> Next open the Color Variations feature and target the Shadow areas. Click onto one of the color thumbnails a couple of times to tint the shadows.

Step 3 >> While the Color Variations dialog is still open, switch to the Highlight tonal range and tint these values a different color.

6.31 Photoshopâ&#x20AC;&#x2122;s Color Balance split toning in Elements Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.18 | Related Techniques â&#x20AC;&#x201C; 6.16, 6.17 | Tools used â&#x20AC;&#x201C; Brush | Menus used â&#x20AC;&#x201C; Layer

'PS FMFNFOUT VTFST XIP XBOU UP FNQMPZ B OPO EFTUSVDUJWF XPSLn PX UIF $PMPS #BMBODF BEKVTUNFOU layer from Photoshop can be dragged and dropped from a Photoshop document onto an Elements ďŹ le. To keep the whole technique non-destructive a Photoshop Black and White adjustment layer should be used ďŹ rst to convert the image to grayscale. To help with this process I have created a Book resources at: www.adv-elements.com

IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Photoshop ďŹ le containing a convert to gray layer and a range of split-tone options. To use, download the Photoshop-Split-Tones.psd ďŹ le from the bookâ&#x20AC;&#x2122;s website and open the document JOUP &MFNFOUT %SBH UIF $POWFSU UP (SBZ MBZFS UP UIF &MFNFOUT m MF m STU BOE UIFO BEE B TQMJU UPOF layer. Adjust the opacity of the split tone layer to control the strength of the split-tone colors.

Step 1 >> Start by opening the Photoshop-Split-tone.psd ďŹ le into the Elements editing workspace. Drag the Convert-to-Gray layer from the Photoshop document to an open Elements ďŹ le.

Step 2 >> Now drag a split tone layer to the Elements document. If need be adjust the opacity of the layer to reduce the strength of the tinting colors.

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Split toning >> Borrowing Color Balance and Black and White adjustment layers from Photoshop documents provides a way for Elements users to split tone non-destructively.

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Color and black and white >> By combining your selection skills, Elements’ masking options and the features of the Gradient Map adjustment layers you can create an image where black and white and color happily coexist.

Black and white and color The same ‘two-layer erase back’ technique can be used for creating photographs which contain both color and black and white elements, but I prefer to use a different method based around Elements’ masking options.

6.32 Layer mask and gradient map Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.32 Related Techniques – 6.18 | Tools used – Selection tools | Menus used – Select, Layer

With the color image open make a selection of the objects that will not be converted to black and white. In the example I used a combination of the Magnetic Lasso and the standard Lasso tools to select the three map pins, but you could also use the Magic Selection Brush to achieve the same results. Next, feather the selection (Select > Feather) slightly with a setting of 1 pixel to soften the edge of the effect. Invert the selection (Select > Inverse) so that the background (everything other than the map pins) is now selected. Then, with the selection still active, create a new Gradient Map adjustment layer (Layer > New Adjustment Layer > Gradient Map). When the Gradient Map dialog appears select the map with a smooth transition from black to white and click OK. Elements uses your selection to mask out the adjustment layer effects and restrict them from being applied to the originally selected map pins. You can create a multitude of other effects using the same process but different gradient maps or adjustment layers. More effects >> You can create other effects using the same masking technique with the Threshold (a), Posterize (b) and Invert (c) Adjustment Layers options.

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IMAGE CHANGES – BEYOND THE BASICS

Step 1 >> Make a selection of the parts of the image that you want to remain in color.

Step 2 >> Feather the selection by 1 pixel and then Inverse the selection.

Step 3 >> With the selection still active create a new Gradient Map adjustment layer.

Border techniques $SFBUJOH B HSFBU CPSEFS JT POF PG UIPTF m OJTIJOH UPVDIFT UIBU DBO SFBMMZ NBLF ZPVS JNBHFT TUBOE apart from the crowd. Using Photoshop Elements you can easily create and apply a variety of different border styles to your photographs.

6.33 Simple borders Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.33 Related Techniques – 6.34 | Tools used – Marquee | Menus used – Select, Window, Edit

A basic line border can be created by selecting the whole image (Select > Select All) and then stroking (Edit > Stroke) the selection on the inside with the foreground color. For fancier styles Elements provides a range of Frame and Edge treatments in its Artwork palette (Window > Effects). Some frames require you to make a selection ﬁrst; others can be applied directly to the picture with no preliminary actions.

Stroked frame >> Use the Eyedropper tool to select a suitable border color from the image. Select all the picture (Select > Select All). Stroke the selection (Edit > Stroke Selection) on the inside with the foreground color and a width of 10 pixels.

Layer Effects >> Display the Effects palette (Window > Effects) and then select the Special Effects > Photo Effects section. Choose frames from the drop-down list and then Drop Shadow from the thumbnails. Press the Apply button.

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IMAGE CHANGES – BEYOND THE BASICS

Make sure that you save your selections (Select > Save Selection) as you make them. This way you can always reload them later if you need to.

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6.34 Sophisticated edges using grayscale masks Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.34 Related techniques – 6.33 | Tools used – Paint Brush | Menus used – layer

You can create truly imaginative edges by using a grayscale mask to hide the edges of the picture. Start by using the Elements drawing tools to paint a black shape with rough edges on a white background. This is our grayscale mask. Ideally the dimensions of the painting should be the same as the picture to be framed. With both the picture and the mask open as separate documents, use the Move tool to drag the mask image on top of the picture. The mask will become a new layer. Use the Free Transform tool (Image > Transform > Free Transform) to scale the mask to ﬁt the image precisely.

Grayscale mask borders >> You can use a grayscale mask to produce a creative border effect by stacking the mask on top and then changing the layer mode to Screen.

With the mask layer still active change the layer mode to Screen. This will cause the image from beneath to show through the black parts of the mask whilst the white areas of the mask hide the rest of the picture below. This technique can also be used to create an image-ﬁlled border by inverting the mask before changing modes. This way the center of the picture is hidden by the white portion of the mask and the edges are ﬁlled with the image from below. Search the web for pre-made grayscale masks that can be downloaded and used directly in Elements.

Step 1 >> Create or download a grayscale mask. Open image and mask. Drag mask onto image as a new layer.

Step 2 >> With the mask layer selected use the Transformation tool (Image>Transform>Free Transform) to scale the mask to ﬁt the image.

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Step 3 >> Switch the mask layer’s mode to Screen to create the edge effect. To invert the effect select Image > Adjustments > Invert before changing the mode.

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Grayscale mask border

Grayscale mask border inverted

6.35 Creating frames with Frame layers Suitable for Elements â&#x20AC;&#x201C; 6, 5.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.35 | Related techniques â&#x20AC;&#x201C; 6.34 Tools used â&#x20AC;&#x201C; Paint Brush Menus used â&#x20AC;&#x201C; layer

Frame layers are brand new to Elements and have been introduced as part of the new system of creating multi-page themed documents (Photo or .PSE documents). Here, we will just take a quick look at the framing abilities of the new technology, but for a fuller description of how to create and edit PSE ďŹ les go to $IBQUFS Frame layers combine both the picture and the frame in a single layer. This a really cool aspect of this technology as it means that not only can the frame and layer combination be sized and rotated as a single composition, but the picture can also be manipulated independent of the frame. Photoshop Elements ships with a huge collection of frames that can be quickly and easily added to your pictures.

Frame layers >> Frame layers are a new way to dynamically add fancy borders to your photos.

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IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Picture edges >> More sophisticated masks of all manner of shapes, sizes and styles can be created using grayscale masks. By inverting the mask (Image > Adjustment > Invert) you can also create an edge ďŹ lled with a picture rather than a picture surrounded by an edge.

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5IF WBSJPVT EFTJHOT BSF DPMMBUFE JO UIF $POUFOU QBMFUUF VOEFS UIF 'SBNFT PQUJPO JO UIF #Z 5ZQF section of the palette). To add a frame to a picture that is already open in the Full Edit workspace EJTQMBZ UIF QBMFUUF m STU 8JOEPX $POUFOU BOE UIFO DMJDL PO UIF MFGU TJEF ESPQ EPXO NFOV and select By Type. Next choose the Frames option from the right-hand drop-down menu. After locating the frame type you want to add to your photo click on its thumbnail and then press the Apply button at the bottom of the palette. Elements automatically creates a new Frame layer, adds your photo to it and then provides a small adjustment palette at the top of the framed image containing controls for sizing, rotating and replacing your photo. Alternatively, extra positioning and sizing options are available from the right-click menu. $MJDL PO UIF QIPUP BOE then click-drag the corner handles to resize the frame and image together or the rotate handle to pivot the combination. Double-click the Move tool on the photo to select just the picture and use the handles to alter the photo independently of the frame.

Step 3 >> More picture controls are available from the right-click menu. In most cases the Fit Frame To Photo option should be selected ďŹ rst and then any ďŹ ne-tuning added later.

Step 1 >> With a photo open in the editing space display the Frames section of the Content palette. Select the Frame Style thumbnail and click the Apply button.

Step 2 >> Elements automatically creates a new Frame layer and places your photo in the frame design. Adjust the size and orientation of the picture using the pop-up adjustment palette.

Step 4 >> Single-click the photo to select both frame and photo. Doubleclick to pick the photo only. Use the corner and rotate handles to ďŹ netune the size of picture and frame.

Step 5 >> To ďŹ nish add a background to the composition by selecting the Background option from the right-hand menu. Next Choose the background and then click Apply.

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Adding texture

Many photographers add a little texture to their pictures as part of their regular image editing process. Some go beyond this and produce photographs with huge clumps of grain that resemble the results often seen with prints made from old style high ISO ﬁlms.

6.36 Add Noise ﬁlter Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.36 Related techniques – 6.37, 6.38 | Menus used – Filter

The simplest method for adding texture to your picture is to use the Add Noise filter (Filter > Noise > Add Noise). The feature is provided with a preview dialog which allows you to alter the ‘Amount’ of noise that is added to the photograph, the style of noise – Gaussian or Uniform – and whether the noise is random colored pixels or just monochrome. As with most filters it is important to use this feature carefully as once the filter is applied and the file saved you will not be able to undo its effects. For this reason, it pays to make a duplicate file of your picture which you can texturize without risk of destroying the original image. Be sure to preview the image at least 100% when adding noise to ensure that the effect is not too strong. If in doubt, make a test print of sections of the picture with different Add Noise settings to preview the hard copy results.

Step 1 >> Zoom in so that the picture is at least at 100% view or the Actual Pixels entry.

Step 2 >> Select the Add Noise ﬁlter from the Filter menu.

Step 3 >> Adjust the Amount slider to change the strength of the effect and pick the noise type and color.

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IMAGE CHANGES – BEYOND THE BASICS

Texture is a traditional photographic visual element that is often overlooked when working digitally. All but the highest quality professional ﬁlms have visible grain when they are printed. This is especially true when the print size goes beyond the standard 6 x 4 inches. In fact we are so familiar with the idea that grain is part of the photographic process that putting a little texture into an otherwise grainless digital picture can lend a traditional ‘look and feel’ to the image.

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6.37 Grain ďŹ lter Suitable for Elements â&#x20AC;&#x201C; 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.36 | Related techniques â&#x20AC;&#x201C; 6.36, 6.38 Menus used â&#x20AC;&#x201C; Filter

As an alternative that provides a few more options than the technique above you can use the Grain ďŹ lter (Filter > Texture > Grain) to add your choice of 10 different grain textures to your picture. Ranging from â&#x20AC;&#x2DC;regularâ&#x20AC;&#x2122; through â&#x20AC;&#x2DC;horizontalâ&#x20AC;&#x2122; to â&#x20AC;&#x2DC;speckleâ&#x20AC;&#x2122; this ďŹ lter produces a spectacular variety of texture effects. The featureâ&#x20AC;&#x2122;s dialog also provides an Intensity slider to govern UIF TUSFOHUI PG UIF UFYUVSF BOE B $POUSBTU control.

Adding grain >> The Grain dialog provides a preview thumbnail, Intensity and Contrast sliders and a selection of 10 different grain types.

5IF USJDL UP DSFBUJOH HPPE UFYUVSF VTJOH UIJT GFBUVSF JT UIF CBMBODOH PG *OUFOTJUZ BOE $POUSBTU TFUUJOHT If the texture is too strong the shape and color of the original subject matter can be lost. If the contrast is too high then shadow and highlight details can be lost.

Texture options for the Grain ďŹ lter >> The Grain ďŹ lter provides a range of unique texture options that can be applied to your picture. (a) Regular. (b) Sprinkles. (c) Clumped. (d) Enlarged. (e) Stippled. (f) Horizontal. (g) Speckle.

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6.38 Non-destructive textures As we have already seen adjustment layers are a great way to manipulate your pictures without actually altering the original image. This approach to image editing is referred to as â&#x20AC;&#x2DC;nondestructiveâ&#x20AC;&#x2122; as the integrity of the starting picture is always maintained. Mistakes or radical manipulations can always be reversed by switching off the adjustment layer leaving the untouched original below. Although there are no such things as Filter adjustment layers it would be handy to be able to use this same approach when making whole non-reversible image changes such as adding texture or noise to your pictures. Such a technique was used in the following example. Despite the appearance of texture throughout the whole photograph the starting picture is still preserved at the bottom of the layer stack. To get the same results with your own pictures start by making a new layer (Layer > New > Layer) above the image. Next, ďŹ ll this layer with 50% gray (Edit > Fill Layer) and Add Noise 'JMUFS /PJTF "EE /PJTF UP UIF MBZFS $IBOHF UIF NPEF PG UIF HSBZ UFYUVSFE MBZFS UP FJUIFS Soft Light, Hard Light, Linear Light or Vivid Light. Notice how the texture is now applied to the picture. To soften the effect reduce the opacity of the texture layer. Using this technique you not only preserve the integrity of the original picture but you can also alter the strength of the effect at any time. In addition, it is also a great way to apply the same amount and style of grain to several layers in a stack without having to individually select and ďŹ lter each layer. To apply the same texture settings to a series of images of the same size simply drag and drop the gray texture layer into each of the open documents.

Step 1 >> Create a new layer above the image layer or background.

Step 2 >> Fill the layer with 50% gray using the Edit > Fill layer command.

Step 3 >> Texture the layer with Add Noise and switch the layer mode to Vivid Light.

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IMAGE CHANGES â&#x20AC;&#x201C; BEYOND THE BASICS

Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Resources â&#x20AC;&#x201C; Web image 6.38 Related techniques â&#x20AC;&#x201C; 6.36, 6.37 | Menus used â&#x20AC;&#x201C; Layer, Filter

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Controllable texture >> By adding texture to a 50% gray layer above the image and then using the blending modes to apply the texture to the picture you can add grain to your picture non-destructively. Image courtesy of www.ablestock.com copyright 2005.

Advanced sharpening secrets To most of us sharpening is a way of improving the clarity of photos using a single-click option such as Enhance > Auto Sharpen in Elements, but why should we relinquish control when it comes to this ﬁnal step in the editing process? Here we look a little deeper at some of the more customizable options that allow the user to more easily match the sharpening effect with the subject matter and output destination of their photos.

Sharpening – What are the options? Photoshop Elements provides a variety of sharpening options designed to increase the clarity of digital photographs. In previous versions these options were listed in the Filter > Sharpen menu and include the Sharpen, Sharpen Edges, Sharpen More and Unsharp Mask ﬁlters. In version 5.0 the options were moved and are now grouped under the Enhance menu and include Auto Sharpen, Unsharp Mask and Adjust Sharpness ﬁlters. Digital sharpening techniques are based on increasing the contrast between adjacent pixels in the image. When viewed Book resources at: www.adv-elements.com

Sharpen options >> Elements 5.0 and 6 groups the sharpening options under the Enhance menu. Unsharp Mask remains but the other ﬁlters have been replaced with the one-step Auto Sharpen and the sophisticated Adjust Sharpness options.

IMAGE CHANGES – BEYOND THE BASICS

For many users selecting an option such as the Auto Sharpen is about as far as they go when it comes to thinking about how to sharpen their pictures, but this ‘one-click’ filter fail to take into account the content of the photo and the intended use for the image – two factors that should determine the amount of sharpening you apply. So for the ultimate control of your sharpening use the advanced features in the new Adjust Sharpness filter, or the tried and tested Unsharp Mask filter. Both these options contain controls that allow the user to manipulate the strength of the sharpening effect and adjust which parts of the picture the filters are applied. Let’s look at each in turn.

6.39 Unsharp Masking to the rescue Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.39 Related techniques – 6.40, 6.41 | Menus used – Enhance

Of the various sharpen ﬁlters that Photoshop Elements contains the Unsharp Mask provides some of the greatest control over the sharpening process by giving the user a range of sliders which, when adjusted, alter the way the effect is applied to pictures. Though a little confusing to start with, the Unsharp Mask ﬁlter is one of the best ways to make your scans or digital photographs clearer. However, to get the most out of the feature you must understand and control carefully each of the three sliders. So how does the feature work?

Step 1 >> Make sure that your picture is zoomed in or magniﬁed to at least 100% before selecting the Unsharp Mask option from the Enhance menu. Select the Preview option in the dialogue to ensure that the sharpening effects are shown on the full image.

Step 2 >> Start with the radius set to 1 and the Threshold value adjusted to 0. Gradually move the Amount slider upwards watching the sharpening effect as you go. Stop when you ﬁnd a setting where the picture appears clearer but contains no sharpening ‘halos’.

Step 3 >> To restrict the effect from being applied to skin tones, blue skies or other areas of smooth tone gradually increase the Threshold slider until the sharpening is just being applied to the picture’s edges.

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IMAGE CHANGES – BEYOND THE BASICS

from a distance, this change makes the picture appear sharper or more defined. So applying a sharpening filter does not, and will never, make a poorly focused picture suddenly appear as if it has been focused correctly. Instead these filters are designed to make your photos appear more sharply defined.

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The Amount slider controls the strength of the sharpening effect. Larger numbers will produce more pronounced results whereas smaller values will create more subtle effects. Values of 50% to 100% are suitable for low-resolution pictures whereas settings between 150% and 200% can be used on images with a higher resolution. The Radius slider value determines the number of pixels around the edge that are affected by the sharpening. A low value only sharpens edge pixels. High settings can produce noticeable halo effects around your picture so start with a low value ﬁrst. Typically values between 1 and 2 are used for high-resolution images, settings of 1 or less for screen images. The Threshold slider is used to determine how different the pixels must be before they are considered an edge and therefore sharpened. A value of 0 will sharpen all the pixels in an image whereas a setting of 10 will only apply the effect to those areas that are different by at least 10 levels or more from their surrounding pixels. To ensure that no sharpening occurs in sky or skin tone areas set this value to 8 or more.

Unsharp Mask Top Tip: Be careful when you are using the Unsharp Mask ﬁlter with your pictures. A little sharpening will improve the look of your photographs but too much sharpening is really noticeable and almost impossible to repair once applied to your picture. If you are unsure of your settings, apply the effect to a copy of the image ﬁrst.

Adding clarity >> Careful sharpening can really add to the clarity of a digital photo, but like most enhancement techniques it is best to make such changes subtly. (a) No-sharpening. (b) After Unsharp Mask. (c) After Adjust Sharpness. (d) High Pass/Blend Light mode approach.

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6.40 Adjust Sharpness for the ultimate control Until the release of Photoshop Elements 5.0 the best way to take control of the sharpening in your photographs was to use the Unsharp Mask filter. But the most recent release has included a brand new sharpening tool that will easily steal this crown. The Adjust Sharpness filter (Enhance > Adjust Sharpness) provides all the control that we are familiar with in the Unsharp Mask dialog plus better edge detection abilities, which leads to less apparent sharpening halos. The Filter dialog contains a zoomable preview, sliders to control the sharpening plus a drop-down menu where you can choose the type of sharpening to apply. You can control the sharpening effect with the following settings: Amount – Strength of sharpening effect. Radius – Determines the extent of sharpening. Higher values equal more obvious edge effects. Remove – Determines sharpening algorithm used. Gaussian Blur uses the same approach as the Unsharp Mask filter. Lens Blur concentrates on sharpening details and produces results with fewer halos. Motion Blur reduces the effects of blur caused by camera shake or subject movement. Angle – Sets Motion Blur direction. More Refined – Longer processing for better results.

Step 1 >> Make sure that your picture is zoomed in or magnified to at least 100% and then select the Enhance > Adjust Sharpness filter. Select the Preview option in the dialogue to ensure that the sharpening effects are shown on the full image and also tick the More Refined option unless you are working with a large file or a slow computer.

Adjust Sharpness >> The Adjust Sharpness feature introduced in Elements 5.0 extends the customized sharpening ability ﬁrst started with the Unsharp Mask ﬁlter.

Step 2 >> Choose the Lens Blur entry from the Remove menu. This option provides the best sharpening with least halo artifacts. Choose Gaussian Blur if you want to simulate Unsharp Mask results or Motion Blur if you are trying to get rid of the effects of camera shake.

Step 3 >> Start with the radius set to 1 and gradually move the Amount slider upwards watching the sharpening effect as you go. Stop when you ﬁnd a setting where the picture appears clearer but contains no sharpening ‘halos’.

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IMAGE CHANGES – BEYOND THE BASICS

Suitable for Elements – 6, 5.0 | Difﬁculty level – Intermediate | Resources – Web image 6.39 Related techniques – 6.39, 6.41 | Menus used – Enhance

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Adjust Sharpness Top Tip: One of the options for the new Adjust Sharpness filter is the Motion Blur entry in the Remove menu. The options listed in this menu determine the way in which sharpening is applied to the picture or more specifically, the algorithm used when filtering. The Motion Blur option is different to the other choices as it provides a method of reducing the effects of blur in a photo due to the camera or subject moving during the exposure. When Motion Blur is selected you have the added option of inputting an angle for the blur reducing action. This can be achieved with the dial control by click-dragging the mouse or by inputting a specific angle.

6.41 Another approach Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 6.39 Related techniques – 6.39, 6.40 | Menus used – Layer, Filter

There is no getting away from the fact that sharpening photos with filters alters them irreversibly and forever. For this reason many photographers duplicate their precious pictures multiple times and apply different sharpening options to the copies depending on their intended use. This is not a bad approach, especially if you have plenty of storage space to hand, but what if you could sharpen your photos without altering the original pixels? Well surprisingly the Blending Modes feature located in Photoshop Elements provides the key to just such a technique. In particular, we will use the Hard Light Blend Mode in conjunction with the High Pass filter to create a non-destructive sharpening effect. The High Pass filter provides the mechanism for controlling where the sharpening occurs by isolating the edges in a picture and then converting the rest of the image to mid gray. This is perfect for use with Hard Light blend mode as the mid gray areas will not be affected at all and the sharpening changes will only be applied to the edges of the photo.

Step 1 >> Make a copy (Layer > Duplicate Layer) of the picture layer that you want to sharpen. Filter the copied layer with the High Pass ﬁlter (Filter > Other > High Pass) and press OK.

Step 2 >> With the ﬁltered layer still selected switch the blend mode to Hard Light. This mode blends both the dark and light parts of the ﬁltered layer with the picture layer, causing an increase in contrast.

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Step 3 >> Adjust the opacity of this layer to govern the level of sharpening. Sharpening using this technique means that you can remove or adjust the strength of the effect later by manipulating the ﬁltered layer.

DARKROOM TECHNIQUES ON THE DESKTOP

Darkroom Techniques on the Desktop

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nce you have mastered the basic editing and enhancement skills and techniques in Elements you will no doubt want to move on to some more challenging tasks that will extend and build upon what you already know. The group of techniques collected together here is loosely based on traditional photographic ‘know how’ that I have reworked in a digital fashion.

7.01 Diffusion printing Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 701 Tools used – Eraser | Menus used – Filter, Layer

Even though as image-makers we spend thousands of dollars on equipment that ensures that we make sharp photographs, there is something enticing about a delicately softened picture. Especially when this lack of sharpness is contrasted against a wellfocused section of the picture. Diffusion printing is one traditional printing technique that played with this idea. Parts of the image were purposely blurred whilst other areas remained sharp. With non-digital photography, adding such an effect meant placing a ‘mist’ or ‘fog’ filter in front of the camera lens at the time of shooting. More recently, in an attempt to gain a little more control over the process, photographers have been placing diffusion filters below their enlarging lenses for part of the print’s exposure time. This process gave a combination effect where sharpness and controlled blur happily coexisted in the final print.

Step 1 >> Duplicate the original picture by dragging it to the New Layer button or choosing the Layer>Duplicate Layer option.

Gaussian Blur ﬁlter >> The diffusion printing technique is based around the careful application of the Gaussian Blur ﬁlter.

Step 2 >> Apply the Gaussian Blur ﬁlter (Filter>Blur>Gaussian Blur) to the upper, duplicated, layer.

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Step 3 >> Control the way that the blurred layer interacts with the one beneath by adjusting the blending mode and/or using a No Settings adjustment layer mask grouped with the upper layer to remove unwanted blurred areas.

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Diffusion printing >> To control the style and position of the effect change the blending mode of the blurred layer and use the eraser to remove blurred areas to reveal the sharp original beneath. (a) Darken blending mode. (b) Lighten blending mode. (c) Normal blending mode.

Creating this style of picture using digital processes offers the image-maker a lot more choice and control over the end results. The technique is based around the Gaussian Blur filter, which can be used to soften the sharp details of your photograph. A simple application of the filter to a base image produces a less than attractive result and one that doesn’t combine the sharp and blurred imagery. Instead more control is possible if the filter is applied to a copy of the picture stored as a layer above the original image. This blurred layer is then combined with the original by either reducing the opacity of the blurred layer to allow the sharp original to show through, or by changing the blurred layer to a different blending mode such as Darken or Lighten.

Extending the technique Blending mode or opacity changes provide control over the overall effect of the diffusion, but to ﬁne-tune the results select the blur layer, add a No Settings adjustment layer below the blurred layer. Group the upper image layer with the adjustment layer and then use the mask of the adjustment layer to to gently remove parts of the top layer to reveal the sharpness beneath. Book resources at: www.adv-elements.com

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Polaroid transfer effect >> The digital version of this traditional printing technique makes use of the two separate ﬁlters to construct the mottled image and the texturizer to create the paper effect before surrounding the whole picture with a frame scanned from a real Polaroid photograph.

7.02 Instant ﬁlm transfer effect Suitable for Elements – 6, 5.0 | Difﬁculty level – Advanced | Resources – Web images 702-1, 702-2, 702-3, Menus used – Filter, Layer, Enhance, Image

Most readers will probably be familiar with Polaroid instant picture products – you push the button and the print is ejected and develops right before your eyes. For many years professional image-makers have been using the unique features of this technology to create wonderfully textured images. The process involved substituting watercolor paper for the printing surface supplied by Polaroid. As a result the image is transferred onto the roughly surfaced paper and takes on a distinctly different look and feel to a standard Polaroid print. Much acclaimed for its artistic appeal, the technique was not always predictable and, much to the frustration of photographers, it was often difficult to repeat the success of previous results. There were three main problems – dark areas of an image often didn’t transfer to the new surface, colors and image detail would bleed unpredictably, and it was difficult to control how dark or light the final print would be. I know these problems intimately as it once took me 16 sheets of expensive instant film to produce a couple of acceptable prints.

A digital solution This success ratio is not one that my budget or my temperament can afford. So I started to play with a digital version of the popular technique. I wanted to ﬁnd a process that was more Book resources at: www.adv-elements.com

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To me it seemed that there were four main elements: desaturated colors, mottled ink, distinct paper texture and color, and the Polaroid ﬁlm frame. If I could duplicate these on my desktop then I would be able to make an image that captured the essence of the Polaroid transfer process.

Step 1 >> Desaturate the image tones slightly using the Hue/ Saturation feature.

Step 2 >> Duplicate the background layer by dragging it to the New Layers button at the top of the dialog.

Step 3 >> Apply both the Paint Daubs and Palette Knife ﬁlters to the upper layer (duplicate).

Step 4 >> Reduce the opacity of the ﬁltered upper layer to allow some of the sharp details of the original image to show through.

Step 5 >> Check to see that the background color is set to white. Increase the size of the canvas to accommodate the Polaroid edge surround using the Canvas Size command with a setting of 120% for width and 140% for height. Copy Merge and paste the new layer.

Step 6 >> Either use one of the preinstalled textures available in the Texturizer filter or download and install the watercolor paper.psd file (web image 702-2) from the book’s website. Use the filter to add the texture to the surround.

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predictable, controllable and repeatable. My ﬁrst step was to list the characteristics of the Polaroid transfer print so that I could simulate them digitally.

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Desaturate the image tones The Polaroid technique requires the watercolor paper to be slightly wet at the time of transfer. The moisture, whilst helping the image movement from paper to paper, tends to desaturate the colors and cause ﬁne detail to be lost. These characteristics are also the result of the coarse surface of the donor paper. So the ﬁrst step of the digital version of the process is to desaturate the color of our example image. In Elements this can be achieved by using the Hue/Saturation control from the Adjust Color section of the Enhance menu. With the dialog open carefully move the Saturation slider to the left. This action will decrease the intensity of the colors in your image.

Mottle the ink The distinct surface and image qualities of Polaroid transfer prints combine both sharpness and image break-up in the one picture. To reproduce this effect digitally, I copied the original image onto a second layer. My idea was to manipulate one version so that it displayed the mottled effect of the transfer print whilst leaving the second version untouched. Then, using the blending modes or opacity features of Elements’ layers I could adjust how much sharpness or mottle was contained in the final result. In practice, I started by duplicating the image layer. This can be achieved by selecting the layer to be copied and then using the Duplicate Layer command located under the Layer menu. Alternatively you drag the layer to the Create New Layer button at the top of the Layers palette. With the upper layer selected, I then needed to find a method to simulate the mottle of the transfer print. Though not exactly right, I found that by combining the effects of the Paint Daubs and Palette Knife filters I could produce reasonable results. When using these filters yourself

Step 7 >> In the Levels feature select the blue and red channels separately, dragging in the white Output slider towards the center.

Step 8 >> Open the edge ﬁle as a separate document, apply a ‘No Frame’ frame to the photo and drag it onto the original picture.

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Step 9 >> Switch the mode of the edge layer to Multiply and use the Scale command to adjust its size frame or the edge to ﬁt the picture below.

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Apply a paper texture and color The paper color and texture is a critical part of the appeal of the transfer print. These two characteristics extend throughout the image itself and into the area that surrounds the picture. For this to occur in a digital facsimile it is necessary to provide some space around the image using Elements’ Canvas Size feature. Unlike the Image Size command, this option allows the user to increase the size of the canvas without changing the image size (and all its associated layers). In the example the canvas width was increased by 120% and the height by 140%. To add the texture to both image and surround I copied and merged all of the document and then pasted the combined image to a new layer. Next, I photographed a section of watercolor paper to use as a customized texture with the Texturizer ﬁlter. You can download and use this very ﬁle from the book’s website (www.adv-elements.com). With the texture complete, I played with the overall color of the image using the Levels feature. I adjusted the blue and red channels independently and concentrated on the lighter tones of the image so that rather than the paper being stark white it took on a creamy appearance.

Add the Polaroid frame The last part of the process involves combining the final image with a photograph of a Polaroid film edge. The edge picture is nothing more complex than a scanned Polaroid print with the image removed. But rather than go to the trouble of making your own, you can download the edge I used for the example directly from the website (web image 702-3). Next, open the file as a separate Photoshop Elements document. Drag the No Frame frame from the Contents palette onto the Edge picture. Use the Fit Frame to Photo option from the right-click menu to adjust the frame to the edge. Click onto the edge frame layer and drag it onto your picture. The edge will automatically become a new layer on top of the existing image layer. With the edge layer selected change the layer’s mode to Multiply. Notice that the white areas of the layer are now transparent, allowing the picture beneath to show through. Finally, use the Scale or Free Transform command to adjust the size of the edge to fit the image. Remember that because the edge is sitting in a frame layer you click the picture once to adjust the frame and photo together and twice to change just the photo inside the frame. Though not an exact copy of the Polaroid transfer print, the digital version displays much of the character of the original and can be achieved for less cost and with more control. Book resources at: www.adv-elements.com

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keep in mind that the settings used will vary with the style and size of your image. This part of the process is not an exact science. Play and experimentation is the name of the game. You might also want to try other options in the Artistic, Sketch or Texture selections of the Filter menu. The last step in this stage is to combine the characteristics of the two layers. This can be achieved by either changing the Blending mode of the uppermost layer or by adjusting its opacity, or both. For the example image a simple opacity change was all that was needed, but don’t be afraid to try a few different blend/opacity combinations with your own work.

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7.03 Using the Unsharp Mask ﬁlter to add contrast Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Resources – Web image 703 Tools used – Burning-in | Menus used – Enhance

Most digital photographers have used the Unsharp Mask ﬁlter as a way to add some crispness to pictures that are a little soft. In another application this feature can be used to add some local contrast to ﬂat images in much the same way that multi-contrast printing provides a boost to black and white prints.

USM local contrast settings >> Instead of using the modest radius settings that we normally associate with the Unsharp Mask ﬁlter this technique requires the radius to be set to a high value.

The trick with this technique is to forget the way that you have been using the feature. Instead of selecting a high amount and low radius setting you do the opposite. You drag the amount downwards and the radius upwards. This produces a change in local contrast rather than a sharpening of individual pixels. To use the technique as part of your standard enhancement process you would adjust highlight and shadow points to set the contrast of the whole picture first, then employ the Unsharp Mask filter to increase the local contrast and then use the filter a second time, with different settings, to increase the photograph’s sharpness. The new Adjust Sharpness filter also contains Amount and Radius sliders which can be employed to produce similar contrast changing effects.

Step 1 >> To change local contrast open the Unsharp Mask ﬁlter and select a low Amount value and a high Radius value.

Step 2 >> After adjusting the contrast sharpen the image using the Unsharp Mask ﬁlter in the normal fashion.

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Step 3 >> The ﬁnal step in the example image was to darken some of the tones around the door opening with the Burn tool.

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The Adjust Sharpness alternative >> The Adjust Sharpness ﬁlter can also be used to provide similar local contrast changes.

Recipes for USM contrast changes >> (a) Original image, no contrast change.(b) Amount 30, Radius 80, Threshold 0. (c) Amount 60, Radius 80, Threshold 0. (d) Amount 90, Radius 80, Threshold 0. (e) Amount 120, Radius 80, Threshold 0. (f) Amount 30, Radius 20, Threshold 0. (g) Amount 60, Radius 20, Threshold 0. (h) Amount 90, Radius 20, Threshold 0. (i) Amount 120, Radius 20, Threshold 0.

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USM contrast change >> Until now most of us have used the Unsharp Mask ﬁlter for the sharpening of pictures, but with this technique you can use the feature to increase the local contrast of an image as well.

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7.04 Lith printing technique Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Resources – Web image 704 Tools used – Dodging, Burning-in | Menus used – Enhance, Image, Filter

Just a few short years prior to the massive uptake of digital photography many professional and amateur image-makers alike were discovering the beauty of a whole range of craft printing processes. There was a resurgence in the techniques involved in the production of high quality black and white pictures and a growing interest in ‘alternative’ processes that could create stunningly different monochromes. One such process was lith printing. The process involves the massive overexposure of chlorobromide-based papers coupled with development in a weak solution of lith chemistry. The resultant images are distinctly textured and richly colored and their origins are unmistakable. But rather than head back to the darkroom in pursuit of your first lith print you can use the following steps to recreate the results digitally. Most lith prints have strong, distinctive and quite atmospheric grain that is coupled with colors that are seldom seen in a black and white print. They range from a deep chocolate, through warm browns, to oranges and sometimes even pink tones. If our digital version is to seem convincing then the final print will need to contain all of these elements. Select a picture where the composition is strong. It should contain a full range of tones, especially in the highlights and shadows and good contrast will help make a more striking print. The first task is to lose the color. We want to achieve this change whilst still keeping the Book resources at: www.adv-elements.com

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Lith printing >> Recreating the highly textured, colored prints that result from the lith printing process involves the following steps: – losing the color from the image, – adding some texture and then – reapplying color to the picture.

Step 3 >> Use the Dodging and Burning-in tools to add drama to speciﬁc areas of the picture.

Step 1 >> Convert your color picture to black and white with the Convert to Black and White feature.

Step 2 >> Adjust your picture’s black and white points and check the spread of tones using the Levels feature.

Step 4 >> Add some texture to the image using the Add Noise ﬁlter set to Gaussian and Monochrome.

Step 5 >> Apply some color using the Hue slider and Colorize option in the Hue/Saturation feature .

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picture in a color mode (RGB Color). This way later on we can add color back to the picture. If the original is a color picture use the new Convert to Black and White feature (Enhance > Convert to Black and White) to lose the color. If you are starting the project with a grayscale picture change the color mode to RGB Color (Image > Mode > RGB Color). Perform all your tonal enhancement steps now. Use the Levels feature (Enhance > Adjust Lighting > Levels) to ensure a good spread of tones and the Burning and Dodging-in tools to enhance specific parts of the picture. Add some texture to the image using the Add Noise filter (Filter > Noise > Add Noise) with the Gaussian and Monochrome options set. The final step is to add some color back to the picture. We can achieve this effect by selecting the Colorize option in the Hue/Saturation feature and then adjusting the Hue slider to select the color of the tint and the Saturation slider to alter the strength.

7.05 Correcting perspective problems Suitable for Elements – 5.0 | Difﬁculty level – Basic Resources – Web image 705 | Menus used – Filter

You know the story: you’re visiting a wonderful city on holiday wanting to capture as much of the local scenes and architecture as possible. You enter the local square and point you camera towards an impressive three-spired building on the other side of the road only to ﬁnd that you must tilt your camera upwards to get the peaks into the picture. At the time you think nothing of it and you move on to the next location. It is only when you are back at home about to print your photograph that you realize that the innocent ‘tilt’ has caused the edges of the building to lean inwards. Now, to a certain extent this isn’t a problem; even though it is not strictly accurate, we all know that most buildings have parallel walls and the majority of people who look at you picture will take this into account – won’t they? Apart from a return trip and a re-shoot is there any way to correct these converging verticals? Well, I’m glad you asked. Armed with nothing except Elements 5.0 or 6, the Correct Camera Distortion ﬁlter and the steps detailed here, you can now straighten all those leaning architectural shots without the cost of the return journey.

Correcting perspective >> When shooting upwards with a wide angle lens the sides of buildings converge inwards rather than remain parallel. You can correct this problem using the new Correct Camera Distortion ﬁlter in Elements 5.0.

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Step 1 >> With the example image open in the Full Edit space of Elements select Filter > Correct Camera Distortion. Ensure that the Show Grid option at the bottom of the dialog is checked.

Step 2 >> The main problem with the example image is converging verticals which can be corrected by moving the Vertical Perspective control to the left. Unlike the correction techniques in earlier versions of Elements this slider also adjusts the height of the building as well.

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With the offending image open in the Full Edit workspace select Filter > Correct Camera Distortion. Ensure that the Grid option is switched on via the checkbox at the bottom of the dialog before starting to correct the photo. The dialog contains a variety of controls designed for correcting barrel and pincushion distortion, vertical and horizontal perspective, crooked horizons and the vignetting or the darkening of the corners of the picture frame. The key to using the feature is being able to identify the type of distortion that is present in the photo and then choosing the control to deal with the problem. The presence of a preview window means that you can see the results of the corrections as you apply them. Use the grid to guide your changes.

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Step 3 >> To complete the corrections straighten the photo with the Angle control and scale the results so that they ﬁt within the original canvas area. Click OK to apply the changes and close the dialog – then use the Crop tool to remove unwanted areas of the photo.

Hand tool Zoom or Magnify tool

Correct barrel and pincushion distortion Correct vignetting or corner darkening Alter vertical perspective Alter horizontal perspective

Lens correction >> The new Correct Camera Distortion ﬁlter provides a variety of controls for correcting the distortion that results from tilting the camera or using a wide angle lens.

Rotate picture Scale altered image inside the canvas area

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Desaturate/saturate >> Direct your viewer’s gaze by increasing the saturation of important parts of the picture whilst reducing the color vibrancy of the rest of the image.

7.06 Add emphasis with saturation Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Resources – Web image 706 Tools used – Selection tools | Menus used – Enhance, Select

This technique, unlike the ones that we have looked at previously in this chapter, does not draw easy parallels from the world of traditional photography. Until digital came along it was not possible, at least not without a lot of professional smoke and mirrors, to change the vibrancy of the color in one part of the picture whilst maintaining or even boosting it in another part. It certainly wasn’t an easy job to combine both black and white and full color in a single picture. The Hue/Saturation feature has removed such limitations forever. When this tool is combined with a carefully created (and feathered) selection it is possible to desaturate one part of the picture and then, using an inverted selection, increase the saturation of the rest. Like dodging and burning this technique can direct the viewer’s interest to a part of the picture that the photographer deems important. In fact it is when these two techniques, dodging and burning and saturation/desaturation, are used in tandem that the desktop photographer can really start to create some dramatic pictures. In the example image the clown’s head was selected using a combination of the Magnetic and standard Lasso tools. Once completed the selection was feathered slightly (1–2 pixels) (Select > Feather) to soften the transition of the effect and saved (Select > Save Selection). With the Book resources at: www.adv-elements.com

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Non-destructive version >> Use masked Hue/Saturation layers to produce the same results with ďŹ ne-tuning options.

Step 1 >> Carefully select the area to saturate/desaturate using your favorite selection tools.

Step 2 >> Feather the edge of the selection slightly so that the transition will be smoother.

Step 3 >> Save the selection so that you can use it or edit it later.

Step 4 >> With the selection still active use the Hue/Saturation feature to increase the saturation of the clownâ&#x20AC;&#x2122;s face.

Step 5 >> Inverse the selection so that the rest of the picture is now selected.

Step 6 >> Use the Hue/Saturation slider to decrease the saturation and provide color contrast between the two picture parts.

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selection still active the Hue/Saturation feature was opened and the color vibrancy of the clown increased by moving the Saturation slider to the right. To add more contrast, the selection was then inverted (Select > Inverse) and the saturation of the background was decreased almost to the point of just being black and white. An alternative way of working this technique is to create masked Hue/Saturation adjustment layers using the saved selection. This would allow you to readjust the amount of saturation and desaturation at any point later in time and would keep the original picture intact.

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Cross-processing effects >> Made popular because of its use in fashion photography, cross-processing is a traditional technique that takes either print film and processes it in slide chemistry or slide film and develops it in print film chemistry. You can create similar results using the digital version of the process detailed here.

7.08 Cross-processing effects Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web image 708 | Menus used – Enhance

Processing your fi lm in the wrong chemistry sounds like an action that will guarantee disaster, but this is precisely the basis of the cross-processing technique. Print fi lm is developed using slide chemistry or alternatively slide fi lm is processed using print fi lm chemistry. Whichever method you use the process results in distinctly recognizable images that have found their way into many fashion magazines in the last few years. As with many of these alternative techniques the process can be a little unpredictable, with strange color shifts and massive under- and overexposure problems, reducing the number of usable pictures resulting from any shooting session. Book resources at: www.adv-elements.com

Four adjustment layers >> This technique relies on the application of four different adjustment layers being stacked upon the original image.

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Martin Evening of ‘Adobe Photoshop for Photographers’ Focal Press fame created a digital version of this process that uses a series of curve changes to create images that have a similar look and feel to those produced with the chemical cross-processing effect. Here I present an Elements-friendly version of the technique that provides equally impressive results without using the Photoshop curves feature. In addition, as the technique uses a series of adjustment layers to create the effect, the original picture remains unaltered throughout and the settings for each of the layers can be altered at any time to tweak the ﬁnal result.

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Step 1 >> To start the process open a colour image and create a Levels adjustment layer.

Step 2 >> To make the yellow highlights select the blue channel in the Levels feature and drag down the white Output slider. This adds some yellow to the highlights.

To recreate the look of crossprocessing (print film developed in slide chemistry) we must change the image so that it contains creamy highlights, cyan shadows and is generally reduced in contrast. Start with a standard color image. Create a Levels adjustment layer and Step 3 >> Create another Levels Step 4 >> To add cyan to the shadow areas create another Levels select the blue channel. Move the adjustment layer, select the red channel and drag down the white adjustment layer, select the red white Output slider to the left to input layer. This adds some warmth channel and move the midtone Input to the highlights. slider to the right. flatten the highlights and color them yellow. Create a second Levels adjustment layer and with the red channel selected move the white Output slider to the left as well. This adds some warmth. Next create another Levels adjustment layer and select the red channel again. This time you need to move the mid point Input slider to the right to make the shadows and midtones cyan. With the Levels feature still open, and the red channel still selected, move the white and black Input sliders till they meet the first group of pixels in the histogram. To fine-tune the overall tones you can add yet another Levels adjustment layer and with the composite of all channels selected (RGB), alter contrast and brightness of the whole picture. Book resources at: www.adv-elements.com

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Hand coloring >> Digital hand coloring works by applying painted sections of the image to the black and white original using the Color blending mode. This technique preserves the detail of the monochrome picture and tints the surface with the color of the upper layer in much the same way as oil paint was used to tint black and white prints of old.

7.09 Digital hand coloring Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Resources – Web image 709 Tools used – Brush | Menus used – Layer

Before the advent of color ﬁlm the only way to add a hue to a picture was to apply water- or oilbased paints over the top of a black and white print. Most of us will have old photographs of family weddings that are delicately colored in this way. There is a simplicity and subtlety about this approach that is worth recapturing in the digital age. If you look at the old images you will notice that the detail of the black and white picture shows through the colored paint. The combination of these details and the applied color creates the hand colored effect. To simulate this technique digitally we can use the Color blending mode in Elements. The color is applied to a separate layer using the paint brush and then the mode of the layer is changed to Color. This allows the details of the image beneath to show through the color above. Using the paint brush in the Normal mode will create large ﬂat areas of color that hide the detail beneath. Book resources at: www.adv-elements.com

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Step 1 >> Open a black and white picture and make sure that it is in RGB color mode. Make a new layer in the document.

Step 2 >> Select the layer and change its Blending mode to Color.

Step 3 >> Select the paint brush from the tool box and then select a foreground color to paint with from the Swatches palette.

Step 4 >> Paint over the area of the image that you want to hand color. Switch foreground colors and continue to paint.

Step 5 >> Make sure that the colors are being applied to the newly created layer. The strength of the coloring can be altered by adjusting the opacity of the layer.

The color can be removed from any part of the picture with the eraser tool and the vibrancy of the hues can be altered by changing the opacity of the color layer. For the ultimate control each individual color can be added via a new layer. This approach means that the various colors that make up the picture can be edited individually.

Hand coloring >> Changing the opacity of the color layer will alter the strength of the hand coloring effect. (a) 0% opacity. (b) 25% opacity. (c) 50% opacity. (d) 75% opacity. (e) 100% opacity.

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Artificial depth of field effects >> It is possible to create realistic depth of field effects by making and blurring a series of selections that gradually increase in size. (a) Straight print. (b) Simple selection with Gaussian Blur. (c) Multiple selections with increasing Gaussian Blur values.

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Advanced Resources – Web image 710 | Tools used – Selection tools | Menus used – Filter, Select

The shallow depth of field effect that is created when you select a small F-stop number (use a long lens or get in very close to your subject) controls the way that a viewer sees your picture. The eye is naturally drawn to the sharpest part of the image and shallow depth of field restricts the sharpness in a photograph to often only a single subject. The Gaussian Blur filter can be used in a similar way to produce results that help to direct the viewer’s gaze. Areas of an image can be selected and blurred so that our eyes will be redirected to the sharp part of the print. In a way, by blurring parts of an otherwise sharp picture, this process is creating artificial depth of field. When the potential of the Blur filter is first discovered many enthusiastic digital photographers take to the task of creating shallow DOF pictures from their sharp originals with gusto. The process they use is simple – select and blur. The results certainly provide a contrast in sharpness, but the pictures lack the sense of realism that is needed for the effect to be truly convincing. To recreate shallow depth of field more effectively there needs to be a gradual decrease in sharpness as you move in front of, or behind, the main point of focus. Making a single selection doesn’t provide the gradual change that is needed. In its place we need to use a series of overlapping selections that gradually move further away from the point of focus. Each selection is feathered to smooth the transition of the effect and then the selected area is blurred using the Gaussian Blur filter. The amount of blur is increased as the selection gets more distant from the point of focus.

Multiple selections >> Convincing depth of ﬁeld effects are based on the sequential blurring of multiple overlapping selections. (a) First selection. (b) Second selection. (c) Third selection. (d) Fourth selection.

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7.10 Realistic depth of ﬁeld effects

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This simulates lens-based depth of ﬁeld by surrounding the point of focus with the area of least blur and then gradually increasing the out of focus effect as the eye moves further from this part of the picture. Start the process by creating a selection of the subject area that you want to remain sharp. Feather (Select > Feather) the edge slightly to ensure that the transition between blurred and sharp picture parts is less obvious. Inverse (Select > Inverse) the selection so that the rest of the picture is selected. Apply the Gaussian Blur ﬁlter (Filter > Blur > Gaussian Blur) to the selection

Step 1 >> Carefully select the part of the picture that is to be your point of focus – the area that will remain sharp. Here I used the new Quick Selection tool.

Step 2 >> Feather (1 or 2 pixels) and then save the selection.

Step 3 >> Use the Inverse command to select the rest of the picture.

Step 4 >> Apply a small Gaussian Blur to this initial selection. Here I have used a radius of 1.0 pixels. Inverse the selection again.

Step 5 >> Increase the area that is selected by picking the Expand command from the Select > Modify menu. Inverse the selection again.

Step 6 >> Feather the new selection by a greater amount. Here I have used 10 pixels. Save the selection.

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This process – contract, feather blur – is repeated as many times as is needed to ensure that the picture’s background details are suitably unsharp. In the example image I used four selections to get the shallow depth of ﬁeld effect.

Step 7 >> Apply a larger Gaussian Blur (2 pixels) to this new section of the picture. Inverse the selection.

Step 8 >> Create a new larger selection around the statue using the Expand command set to 100 pixels. Inverse the selection.

Step 9 >> Feather and save the new selection. Here I have used a radius of 30 pixels.

Step 10 >> Blur the new selection with a higher Gaussian Blur setting. Inverse the selection again.

Step 11 >> Expand the selection by 100 pixels and then again by another 100 pixels before feathering the edge by 60 pixels and saving the selection.

Step 12 >> Inverse the selection and then apply the ﬁnal Gaussian Blur to the selection using a radius of 4 pixels.

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using a low Radius value of 1 pixel. Now to recede the selection away from the point of focus. Here I have used the Contract command (Select > Modify > Contract) but you could just as easily draw another selection that is further away from the statue. The edge is feathered again, this time by a larger amount, and the whole thing blurred with a larger radius.

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Creating realistic shadows >> Simple shadows can be applied to any layer using the Drop Shadow options in the Elements Styles palette. More complex shadows, like the one in the example that looks like it is falling on the ground, can be created by making a shadow layer beneath the image. Image courtesy of www.ablestock.com. Copyright © 2003 Hamera and its licensors. All rights reserved.

Elements’ drop shadow styles >> Elements provides a range of ready-made drop shadow styles that can be applied directly to any layer. (a) High. (b) Low. (c) Noisy. (d) Hard edge. (e) Soft edge. (f) Outline. (g) Fill/outline. (h) Neon.

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Advanced | Resources – Web image 711 Tools used – Selection tools | Menus used – Edit, Filter, Image

The drop shadow effect has become very popular in the last few years as a way of making an image or some text stand out from the background. To coincide with this popularity Adobe created a series of drop shadow styles that can be applied directly to any layer. These options are suitable for many applications and Elements users can even customize the look of the effect by altering variables like the direction of the light and the shadow distance using the Style Settings dialog (Layer > Layer Style > Style Settings). But what if you want a more sophisticated shadow than these preset choices allow? Well then you will need to Drop shadow style settings >> Alter the create your own shadows. Using the example image let’s look of your drop shadows by changing the value of the options in the Style Settings make a shadow that lies upon the ground that the model dialog. is standing on. To do so, we will need to revisit the steps that I used to use to create even the simplest drop shadow before the days of layer styles. First select the subject with one of your favorite selection tools and copy it to memory (Edit > Copy). Next paste the picture (Edit > Paste) twice to form two new layers. Fill the background layer with white. Next ﬁll the second image layer with black making sure that the Preserve Transparency option is turned on. This creates a silhouette exactly the same size and shape as the main picture. To allow for the shadow we will need to create some more space on the righthand side of the picture. Use the Canvas Size feature for this (Image > Resize > Canvas Size). Here I have anchored the canvas on the left side and set the option to percent and then increased the width to 150%.

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7.11 Beyond the humble drop shadow

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With the shadow layer still selected I used the Distort feature (Image > Transform > Distort) to push the shadow downwards and to the right. Keep in mind that for this type of shadow to be convincing it must be consistent with the lighting in the image generally. In the example the main light is coming from the left and so the shadow should be projected to the right. Also make sure that the shadow is positioned so that it grows from where the subject touches the ground. In the example it is the feet. If need be, use the Move tool and even the Rotate feature (Image > Rotate > Free Rotate Layer) to orientate the shadow so that it meets the shoes. Next we need to blur the edges of the shadow and adjust its transparency to complete the illusion. With the shadow layer still selected use the Gaussian Blur ďŹ lter (Filter > Blur > Gaussian Blur) to make the edges of the shadow less sharp. There are no hard and fast rules about the amount of blur to apply. It is a matter of trying a few settings with the Preview option switched on in the Filter dialog until you are happy with the results. To make the shadow a little brighter and more transparent I changed the blending mode from Normal to Multiply and dragged down the opacity of the whole layer. Although not immediately obvious here, changing the blending mode to Multiply will give a more realistic shadow effect when laid over other picture areas. When used in conjunction with the layerâ&#x20AC;&#x2122;s Opacity slider the density of the shadow can be adjusted to allow the detail from the picture beneath to show through.

Multiply shadows >> Switching the Blending mode of the shadow layer to Multiply will allow the detail of the layer below to show through, producing a more realistic effect.

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Step 1 >> Carefully select the main subject using your favorite selection tools. Here it was easier to select the uniform background and adjust the selection around the hair region rather than selecting the model.

Step 2 >> Change the selection from the background to the model by inversing the selection.

Step 3 >> Copy the selected area to the computer memory and then paste the contents twice to form two new image layers containing the copied model picture.

Step 4 >> Select the background layer and ďŹ ll it with white.

Step 5 >> Select the lower of the two new layers and ďŹ ll this layer with black, this time making sure that the Preserve Transparency option is turned on.

Step 6 >> Increase the size of the canvas to accommodate the shadow by anchoring the image on the left side and increasing the width by 150%.

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Step 7 >> With the shadow layer still selected use the Distort tool to squash the shadow into the newly created space on the right side of the model.

Step 8 >> Blur the edge of the shadow using the Gaussian Blur ﬁlter.

Step 9 >> Switch the mode of the shadow layer to Multiply and adjust the opacity of the shadow until the desired brightness is shown.

Ring ﬂash shadow >> You can extend the technique detailed above to allow you to create shadows similar to those created when using a ring ﬂash that surrounds the camera’s lens. Image courtesy of www.ablestock.com. Copyright © 2003 Hamera and its licensors. All rights reserved.

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Advanced | Resources – Web image 712 Tools used – Selection tools | Menus used – Edit, Filter, Image

You can extend the technique detailed above to create a shadow that is similar to those found in pictures created with a ring flash attached to the camera lens. These pictures are characterized by the model having a shadow projected onto the wall behind. As the light is coming from the same position as the camera the shadow is larger but directly behind the subject. The first few steps are the same as those found in the previous technique. Start by selecting the main subject and copy and pasting it twice to form two new layers. Next fill the background with white. Select the lower image layer and fill it with black, making sure that the Preserve Transparency option is selected. Blur the shadow using the Gaussian Blur filter (Filter > Blur > Gaussian Blur). With the Preview option selected in the Filter dialog, adjust the Blur Radius so that the edge of the shadow is visible as a halo around the top image layer. With the shadow layer still selected use the Move tool to shift its location upwards by a few pixels. For accuracy you can use the arrow keys instead of the mouse. Each arrow key press moves the shadow one pixel. To finalize the technique change the blending mode of the shadow to Multiply and reduce its opacity.

Step 2 >> Select the lower image layer and ﬁll the image area with black. Make sure that the Preserve Transparency option is selected.

Step 3 >> Use the Gaussian Blur ﬁlter to blur the shadow so that it shows as a halo around the top image layer.

Step 1 >> Select, copy and paste the model twice to create two image layers. Fill the background with white.

Step 4 >> Use the arrow keys to move the shadow gradually upwards so that it shows to the left, right and above but not below the model. Change the Blending mode to Multiply and adjust the opacity.

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7.12 Ring ﬂash shadow

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Altering speciﬁc tones >> Images with bright highlights often need a little curve tweak to darken these tones without changing the white and black points of the picture.

7.13 Elements’ Curves features Suitable for Elements – 5.0 | Difﬁculty level – Intermediate | Resources – Web image 713 | Menu used – Enhance

One of the regular complaints from Photoshop enthusiasts trying to put Elements users in their place is that the program ‘doesn’t contain curves’ and so can’t really be considered as a serious photo enhancement package. For the ﬁrst four versions of the program this was indeed true, but in 5.0 Adobe included an easy-to-use version of Photoshop’s famous Curves feature. This is great news as the Curves feature in Photoshop does offer a great deal of ﬂexibility and creativity over manipulating the tones in your image. In particular, curves provide a great way to lighten shadow areas and darken highlights and it is precisely these two tasks that I use Curves for most. In version 6 curves has been revamped and now has a simpler interface.

Adjust Color Curves feature The Adjust Color Curves feature contains two different ways to manipulate the tones in your photo. The first is a series of enhancement presets, called Styles, that apply specific curve tweaks to your photos. These adjustments include the options to Increase Midtones, Lighten Shadows, Increase Contrast, Darken Highlights, create a Solarize effect and compensate for Backlight in a photo. Selecting one of these options adds the selected adjustment to the photo. Choosing a second option replaces the first tonal tweak with the second curves adjustment. The second way to alter the tones in your photo when using the new Adjust Color Curves feature is via a set of four slider controls coupled with a graphical curves display located in the Adjust section. The sliders controls include Adjust Highlights, Midtone Brightness, Midtone Contrast and Adjust Shadows options. Moving any of the sliders directly alters the way that the tones are distributed in your photo and changes the shape of the curve. Using these controls you can fine-tune specific areas of your photo. Book resources at: www.adv-elements.com

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Lighten highlights

Darken midtones

Lighten midtones

Reduce midtone contrast Darken shadows

Increase midtone contrast Lighten shadows

Advanced Options slider controls >> Moving the position of the sliders in the Advanced Options section of the Adjust Color Curves dialog produces the changes listed above to speciﬁc tonal ranges in a photo.

The Reset button removes all curves changes, both thumbnail selections and slider movements, and restores the feature back to the default setting, which does not apply any changes to image. Note that in the version 5.0 the Reset button switches the control to the Increase Midtones sample. The easiest and most effective way to use this new Elements’ Curves control is to use the Styles menu to select the general correction to apply to the photo first and then use the sliders to finetune the results. Adjust Color Curves >> The new Adjust Color Curves feature provides two different ways to tweak the tones in your photo. You can use each set of controls independently but the best results are obtained when the global changes are set by clicking a Styles entry and small fine-tuning to specific tonal ranges added next via the Slider controls. (a) Adjust Sliders section containing Slider controls for specific tonal ranges. (b) The Styles presets which apply a set adjustment to the picture when clicked. (c) Changes in the shape of the curve based on clicking the Sample thumbnails. Left to right: Increase Midtones, Lighten Shadows, Backlight, Increase Contrast, Darken Highlights and Solarize.

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Darken highlights

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Fill Flash effects >> The Shadows/Highlights option introduced in version 3.0 of Elements also easily lightens the shadows of contrasty photos without affecting the mid and highlight tones in the picture. Like the Adjust Color Curves feature, Shadows/Highlights is useful for lightening the shadows in backlit images such as this beach example. Both options provide a Fill Flash effect which takes its name from the technique of using an on-camera ﬂash in daylight to lighten the shadows caused by direct sunlight. This way of working is popular with photojournalists who in their haste to capture hard news images have little time to modify the lighting on their subjects.

Curves like control via the Shadows/Highlights feature The Shadow/Highlights tool can also be used to alter specific tonal ranges in your photos. It contains three sliders – the upper one is for lightening shadows, which replaces the old Fill Flash tool (included up to version 2.0), the control in the middle darkens highlights and is a substitute for the old Adjust Backlighting tool (included up to version 2.0) and the final slider adjusts midtone Contrast. Moving the Shadows control to the right lightens all the tones that are spread between the middle values and black. Sliding the Darken Highlights control to the right darkens those tones between middle values and white. The beauty of this feature is that unlike the Brightness/Contrast tool, these changes are made without altering other parts of the picture. To fine-tune the tonal changes a third slider is also included in the dialog. Moving this Midtone control to the right increases the contrast of the middle values and movements to the left decrease the contrast making the image ‘flatter’. Book resources at: www.adv-elements.com

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7.14 Using Photoshop’s Curves in Elements Suitable for Elements – 5.0 | Difﬁculty level – Intermediate | Resources – Web image 713 | Menu used – Enhance

Though Photoshop’s curves feature is not supported in Elements it is possible to make use of Curves Adjustment Layers in Elements documents. Like other Photoshop Adjustment Layer features, it is possible to create a series of Curves layers in Photoshop and save them to a donor PSD document. When this document is opened into Elements the adjustment layers are present and they still enhance the layers below them in the stack. It is not possible to change the settings of each layer but they can be dragged to an Elements document and be used to change the tones in that image. As most Elements users will not have access to Photoshop, I have created a document with multiple Curves adjustment layers (Photoshop-Curves.psd). To use simply download the ﬁle from the website, open in Elements and drag the appropriate layer to your Elements ﬁle.

Photoshop Curves layers >> The Photoshop-Curves.psd document available from the book’s website contains a variety of Curves Adjustment layers that you can use with your Elements ﬁles.

Step 1 >> Download and open the Photoshop-Curves.psd from the website. Make sure that the layers palette is also visible.

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Step 2 >> Open your Elements ﬁle and drag a suitable Curves layer from the layers palette onto the photo.

Step 3 >> Fine tune the effects of the curve by adjusting the opacity of the adjustment layer.

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7.15 Combining images seamlessly Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web images 715-1, 715-2 | Tools used – Selection tools | Menus used – Select, Layer

One of the most basic yet critical skills for any digital photographer to learn is the art of careful selection of image parts. Whether you need to isolate a portion of a picture so that it is not affected by a filter, or use a selection as a prelude to copying an image section from one photograph to another, being able to manipulate your program’s selection tools is a very important skill. The success of a simple task such as creating a montage from two separate pictures is largely dependent on how well the image parts are isolated and copied. As an example I will add an extra ornament from a separate picture to an existing shadow box image and in the process demonstrate some basic selection and montaging steps that will help you to increase your image editing skills. With both images open in Elements check to see that they are similar in size (and resolution) by viewing both the images at the same magnification. Make image size adjustments using the Scale feature. This step can also be performed after copying and pasting have occurred. Using the Lasso tool carefully work your way around the edge of the subject to be copied, in this example it is an angel, being sure to pick out as much edge detail as possible. In scenarios where there is more contrast between the edge and the background the Magnetic Lasso could be used instead. Most selections are not perfect first time round, but rather than scrapping the initial selection try using the modifying keys to adjust your results. To take away part of the selection hold down the Alt key and draw around the area. Increase the image magnification to ensure accuracy around areas or detail. To add to the selection hold down the Shift key and draw around the image part to be included. These keys work with all selection tools and can be used repeatedly to build up a perfect result. Keep in mind that you can switch between any of the selection tools during the modification process; this includes the Quick Selection Tool (Magic Selection Brush in PSE6).

Montaging picture parts >> Selecting, copying and pasting picture parts from one image to another is a basic skill that most digital photographers should learn. Seamless integration is based on careful selection techniques so it is on developing these skills that you should spend your time.

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With the feather applied copy (Edit > Copy) the selected portion of the image. This action stores the copy in the computer’s memory ready for the Paste command. Switch to the shadow box image and paste the copied angel onto the picture. At this point you should see the object sitting on top of the shadow box picture. Any problems with the relative sizes of the two images will now become obvious. To make small changes in size you can use the Image > Transform > Free Transform tool. When the angel picture was pasted onto the shadow box image a new layer was created. Keeping these two image parts on separate layers means that they can be altered, edited and moved independently of each other; just keep in mind that the changes will only be made to the layer that is selected. Using the Move tool the angel picture is placed in the spare box space in the shadow box. As a ﬁnal touch of realism a small drop shadow is applied to the angel using the Layer Styles > Drop Shadow options (via the Layer Style menu in the Special Effects section of the Artwork and Effects palette). The direction and size (shadow distance) of the shadow can be altered via the Layer > Layer Styles > Style Settings dialog box. The shadow helps integrate the new picture element with the other ornaments already in the box. Typically, as your skills increase you will attempt more and more complex selection tasks, some of which may take many minutes to complete. For this reason Adobe has included in version 2.0 of Elements a Save Selection (Select > Save Selection) feature that will allow you to store a copy of your carefully created selection with your image ﬁle, ready for later use. Input a name for the selection in the Save Selection dialog. It is good practice to save progress on complex selections as you go. This way if at any point you lose the work you have done you can simply reload the lost selection. Reinstating a saved selection is as simple as selecting the Load Selection option from the Select menu (Select > Load Selection) and choosing the particular selection name from the drop-down menu. Edit>Paste >> When part of a picture is selected, copied and pasted into a different document, Elements automatically creates a new layer to hold the pasted part. Having the element stored separately means that you can easily move, scale, change brightness or even add texture without altering the background image. In the example I added a drop shadow to the separate layer to help unify the new subject with the background.

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At this point a lot of digital photographers would copy the angel and paste it onto the shadow box image, but such an action can produce a very sharp edge to the selection, which is a dead give-away in the ﬁnal montage. The best approach is to apply a little feathering (Select > Feather) to the edge of the selection before copying. In most cases a value of between 1 and 3 pixels will give a realistic result.

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Step 1 >> Open both images into the Elements workspace. Check their relative sizes by displaying them at the same magniﬁcation rate.

Step 2 >> Carefully select the subject to be copied using your favorite selection tool. Zoom in closer to ensure accuracy.

Step 3 >> Feather the selection slightly (1–2 pixels) to ensure that the edge of the copied part is not too crisp to appear real.

Step 4 >> Copy the selected picture part. This places the part into the computer’s memory.

Step 5 >> Click onto the background document to make it active and paste the copied part. Use the Move tool to position it and, if need be, use the Free Transform tool to adjust its size to suit.

Step 6 >> To complete the illusion add a drop shadow to the object. Make sure that the size and direction of the shadow are consistent with the others in the background.

7.16 Believable montages – a step further Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web images 716-1 to 716-5 | Tools used – Selection tools, Eraser, Clone Stamp Menus used – Select, Layer, Filter, Enhance

Against the background of the basic montaging skills developed in the last technique let’s really test out your abilities to combine disparate images by stepping through the following project that brings together five very different source pictures and with the aid of Photoshop Elements creates a single and hopefully convincing final illustration. The project has two parts. The first involves creating a background street scene from three different pictures and then unifying the composition by applying a lighting effect. In the second phase of the project a car and bus are added, the street lights are turned on and a little blur is mixed in to create a sense of speed and motion. Book resources at: www.adv-elements.com

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Step 1 >> Open the background images. Be careful to choose pictures with similar pixel dimensions and try to pick photographs with a consistent perspective. Create a new document (File > New) large enough to encompass all three photos and then click-drag the open pictures onto the canvas of the new document.

Step 2 >> To match the picture parts select the most different photo and adjust the brightness using the Levels feature. Next alter the color using the Color Variations feature. Finally, make a copy of the right background layer (Layer > Duplicate Layer). This will be used later in the process.

Step 3 >> Using the background as the base match the perspective, size and shape of the other background pieces to ﬁt. Do this by reducing the opacity of the layer to be changed and then using the Free Transform feature to resize, rotate and change layer position. To alter perspective hold down the Ctrl key whilst dragging a corner or side handle.

Step 4 >> Use the Eraser tool set to Brush mode, low opacity and soft edge to carefully remove the sharp edges of the upper layers to allow them to blend with the lower ones. Alternatively, you can use a mask from a No Settings Adjustment Layer to hide parts of each layer.

Step 5 >> Complete the background by selecting the duplicate layer (Step 2) and ﬂipping it horizontally (Image > Rotate > Flip Horizontal). Use this copy to form the left side of the composition. Size, shape and rotate the layer before blending it into the existing background.

Step 6 >> Make a ﬂat version of the background by selecting all of the document (Select > All) and then choosing the Copy Merged command (Edit > Copy Merged). The merged copy is then pasted (Edit > Paste) as a new layer.

Creating convincing montages: 1. When using a selection tool to cut out an object that will be pasted onto another background always apply a 1-pixel feather to the selection before cutting. 2. Try to ensure that all source images have similar lighting direction and quality.

3. Match the color, contrast and brightness of all picture parts before starting to merge them together. 4.Make sure that all source images are the same (or very similar) size and resolution. 5. Label all layers as you create them as this will help you keep track of the many

layers that often make up a complex montage. 7. Don’t ﬂatten all the layers and masks that you have used for editing – instead Select > All, then Edit > Copy Merged and ﬁnally Edit > Paste a composite of all the detail as a new layer.

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Step 7 >> Use the Clone Stamp to even out the textures and tones and the Burn and Dodge tools to darken or lighten areas. Next select white sky area with the Magic Wand tool and ﬁll (Edit > Fill) with black. Use the Lighting Effects ﬁlter (Filter > Render > Lighting Effects) to add a yellow hotspot in the center of the picture, fading the edges of the buildings into the newly created black sky.

Step 8 >> Drag the car and bus images onto the background. Flip the bus horizontally (Image > Rotate > Flip Horizontal) and select the bus destin-ation display and ﬂip it back. Using the Free Transform tool (Image > Transform > Free Transform) both the car and bus images are resized and their perspective adjusted to suit the scene.

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Step 9 >> Use a low opacity softedged eraser to remove the unwanted areas around the car and bus. Next darken the side of the bus and add a shadow underneath using the Burn-in tool. Apply similar burning-in changes to the car including shadows and darkening the front and windscreen areas. Use the Sponge tool to desaturate vivid color areas that can appear after burning-in.

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Step 10 >> Next select the Lens Flare filter (Filter > Render > Lens Flare) and add glows to the headlights of the car and bus and to most of the bigger street lamps using the filter. Because the filter preview window is so small, it is more difficult to apply the changes to the more distant lamp posts. Instead add these with a softedged, slightly transparent brush that is colored white.

Step 11 >> One of the side effects of the Lens Flare ﬁlter is a general lightening of shadow areas in the picture. For this reason use the Burn tool to restore some of the depth of tone to the shadow areas. Selecting Midtone or Shadows as the target range ensures that the highlights remain bright during the changes.

Step 12 >> Make a copy of the merged layer of the work to date using the technique outlined in Step 6 and then apply the Radial Blur ﬁlter (Filter > Blur > Radial Blur), set to zoom and with the center positioned over the car, to the copy. Reduce the opacity of the blurred layer to restore a little detail and then use a softedged eraser or No Settings mask to remove layer parts to reveal the detail beneath.

7.17 Producing high-key pictures Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Intermediate Resources – Web image 717 Tools used – Selection tools Menus used – Select, Layer

When, as a student, I was asked to produce a high-key portrait I can remember the extreme lengths that I went to making sure that my lighting was just right, my exposure perfect and my printing spot on. So ﬁnicky was the process that many photographers veer away from making many of these stylized portraits. There is no doubting the beauty of a well-produced highkey portrait. The skin tones become almost white, but still manage to retain just a hint of detail, whilst the shadows keep their depth and the detail throughout remains crisp.

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With digital now dominant, what new spin can this technology offer to this old technique? Well I’m glad you asked. This technique takes a standard portrait and with a few basic changes in Photoshop Elements creates a new high-key version. Just like the original technique the digital approach concentrates on lightening the subject’s skin tones whilst still retaining depth in the shadows.

Step 1 >> With the image open in Photoshop Elements, the ﬁrst task is to create a Gradient Map adjustment layer. Do this by selecting the option from the Adjustment Layer button at the top of the Layers palette.

Step 2 >> Double-click in the gradient area in the dialog to display the Gradient editor. Now to change the tones that make up the start and end points of the gradient. Start with the left end of the gradient – doubleclick on the Color Stop box.

Step 3 >> The Color Picker dialog will open. Select a light gray and click OK. This sets this color as the left end of the gradient. Now double-click the color stop on the right end and select white as the gradient end point.

Step 4 >> Select the adjustment layer and change the blending mode to Hard Light. This will produce a much lighter color image but still hold most of your highlight details.

Step 5 >> Now add a Levels adjustment layer so that it sits at the top of the Layer Stack. Adjust the Midtone slider to control the brightness of the subject’s skin tones.

Step 6 >> Now to restore the shadow detail. Select the image layer at the bottom of the stack and with the Burn-in tool set to shadow and an exposure of 10% enhance the shadow areas using light overlapping strokes.

Gradient map? This feature switches the colors in your picture with tones from a gradient. This option is often used

to convert color images to black and white by using a black-to-white gradient map. The colors in your picture are mapped to the grays in

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the gradient. The feature works just as easily with colors and complex rainbow gradients as well. Try it yourself.

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7.18 Correcting lens problems Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web images 718-1, 718-2 | Menus used – Filter, Image

The following techniques are designed to correct two of the most common lens problems: t Barrel distortion and t Pincushion distortion. As we have already seen in technique 7.05 the new Correct Camera Distortion filter that ships with Photoshop Elements 6 can quickly and easily correct perspective problems in your photos, but this isn’t the end of the feature’s abilities. The Remove Distortion slider is designed specifically for removing the barrel distortion or pin cushioning effects common with some lenses. For best results this slider can be used in conjunction with the Rotate, Perspective and Vignetting controls to fine-tune the look of your photo. This feature can also be used to intentionally add the effects of each of these lens problems in order to produced bloated or pinched photos.

The Remove Distortion control >> Moving the slider to the right removes the effect of pin cushioning by causing the picture to bulge. Sliding the control to the right pinches the picture inwards correcting barrel distortion.

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Before Correct Camera Distortion filter (for previous Elements versions) In previous versions of Photoshop Elements you could use the Spherize filter (Filter > Distort > Spherize) to help correct the distortion problems in your photos. It contains a preview thumbnail and a slider control that adjusts the degree of barrel or pin cushion correction that is applied to the picture. Moving the slider to the right balloons the picture and therefore counteracts the effects of pin cushioning. Sliding the control to the left contracts the image and reduces barrel distortion. But simply applying this filter to the problem picture will cause some parts of the photo to be left unchanged (corners) whilst the rest of the image is ‘spherized’. To overcome this problem and apply the changes to all the picture, you will need to add some space around the image before applying the filter. Use the steps below to correct the photos you have in your collection that suffer from lens distortion.

Step 1 >> Open the example image. Next select the Crop tool and clickdrag the marquee so that it covers the whole of the picture. Now click on the marquee corner handles in the top left and bottom right and drag these outwards beyond the edge of the picture. Double-click in the center of the marquee to add the new canvas space.

Step 2 >> Open the Spherize ﬁlter (Filter > Distort > Spherize) and adjust the magniﬁcation of the thumbnail so that all the image can be seen. Drag the Amount slider to the left to remove the barrel distortion. Continue the adjustment until the ballooning effect is no longer evident. Click OK to apply.

Step 3 >> Next choose View > Grid and then select Image > Transform > Free Transform. Click-drag the top corner handles outwards until the building parts that should be vertical are aligned to a grid line. Drag the top handle upwards to counteract the squashing action and then double-click to transform. Use the Crop tool to remove edges.

Step 1 >> Open the example image and as before select the Crop tool and click-drag the marquee so that it covers the whole of the picture. Now click on the marquee corner handles in the top left and bottom right and drag these outwards beyond the edge of the picture. Double-click in the center of the marquee to add the new canvas space.

Step 2 >> Open the Spherize ﬁlter (Filter > Distort > Spherize) and adjust the magniﬁcation of the thumbnail so that all the image can be seen. Drag the Amount slider to the right to remove the pin cushion distortion. Continue the adjustment until the edges of the card are no longer bent. Click OK to apply.

Step 3 >> Select the Crop tool and after drawing the crop marquee around the picture click outside the marquee and drag to rotate the marquee until the edges of the marquee are parallel to the card’s sides. Double-click in the centre of the marquee to crop and rotate the photo.

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7.19 Change to old Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web images 719-1, 719-2 | Tools used – Selection tools, Free Transform | Menus used – Select, Layer, Enhance, Filter, Edit

Most people would say that old photographs have a certain look and feel about them that can almost be described as magical. It is hard to pin down exactly why we can be so fascinated by these aged images; it may be nostalgia pure and simple, or the knowledge that you are holding a piece of captured history in your hands or it may even be the fact that they look so different from their modern, dare I say it, digital, counterparts. But such is the fascination with old images that many contemporary shooters use a range of digital techniques to recapture this ‘look and feel’ in their pixel-based photographs. In this section we will gracefully add years of age to a straight portrait with the help of some of the features in Photoshop Elements.

Sepia toned vignettes with old background In this technique we will take a modern portrait that uses a classic pose, give it an old time treatment and then add it to an original antique background. Such picture surrounds can be easily located at car boot sales or, as with my example, a French brocante shop. The state of the photograph itself is not all that important; it is the surround that we are interested in. The circular cutout won’t suit the oval vignette of the example picture so some quick copy, paste and transform steps modify the original to ﬁt our modern portrait. The last part of the process adds some texture and a little unsharpness to the original to ensure that it matches its new (or is that old?) surround. To see how to create similar results using the new Frame layer technology included in Photoshop Elements 5.0 go to Chapter 12. Book resources at: www.adv-elements.com

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Step 1 >> Start by making an oval selection using the Elliptical selection tool from the Elements tool box. Feather the selection (Select > Feather or the Feather option in the Reﬁne Edge dialog) to make the transition between the selected and non-selected areas more gradual. Inverse the selection (Select > Inverse) and then press the Delete key to remove the background of the portrait.

Step 2 >> A digital simulation of sepia toning can be obtained by opening the Hue/Saturation feature (Enhance > Adjust Color > Hue/ Saturation), ticking the Colorize option and then moving the Hue slider to a value of about 30. The strength of the color can be changed by sliding the Saturation slider.

Step 3 >> Open the photo-frame picture. This example was photographed using window light directed from the top of the picture. Change the circular cutout to suit the oval picture by making a feather selection of the oval and Edit > Copy and Edit > Paste the selection. Next use the Free Transform tool to make the circle taller. Double-click to apply the transformation.

Step 4 >> Flatten the picture (Layer > Flatten Image) and carefully select the inside of the cutout using one of the Lasso tools. Feather the selection by 1 pixel. Save the selection (Select > Save Selection) just in case you lose it during the next couple of steps. Switch back to the sepia-toned portrait and select (Select > All) and copy (Edit > Copy) the whole picture to memory. Click onto the background document and make sure that the cutout selection is still active. Now select the Paste Into Selection option from the Edit menu (not the Paste option).

Step 5 >> Straight after you paste the portrait into the surround select the Free Transform feature using the shortcut key – Ctrl T. This will place the familiar transformation handles around the pasted picture allowing you to manipulate the size of the portrait to suit the cutout. Check that the Constrain Proportions option is checked in the Options bar. This will help guarantee that the portrait remains in proportion when resizing. Double-click to apply the transformation.

Step 6 >> Although the picture now fits the surround well there is an obvious difference between the texture of the two parts. To help match these areas, select a portion of the picture surround and then copy and paste this into a new Elements document. Save the texture as a PSD file. Reload the original selection made for the cutout (Select > Load Selection). Now apply the saved copied texture to the portrait area using the Load Texture option in the Texturizer filter (Filter > Texture > Texturizer).

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7.20 Painterly photos Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 720 | Menus used – Filter

Before photography was even invented or digital became the way to take and make pictures, artists had been creating great pictures for centuries using such diverse materials as chalk, pastel, pen and ink, and, of course, paint. Now you can emulate the look of these old masterpieces by using your very own photographs as the starting point and adding the artistic ‘look and feel’ with a few well-chosen, but simple, digital embellishments. Here we will recreate four distinct artistic illustrations from a single humble photographic beginning using several enhancement steps and the ﬁlters contained in Elements.

Changing to a pen and ink drawing (See a) Using the Graphic Pen ﬁlter it is possible to simulate the effect of making a drawing of a photograph with a thin graphic arts pen. Close overlapping strokes are used for the shadow areas; midtones are represented by balancing strokes with the paper color showing through; and highlight details are drawn with a few sparse strokes.

Step 1 >> Set the foreground colors to default by clicking the small black and white squares in the bottom left of the toolbar. The Graphic Pen ﬁlter uses the foreground color as the ‘ink’ color and the background color as the ‘paper’ color. Select the ﬁlter from the Sketch menu. Using the preview as a guide adjust the Stroke Length, Light/ Dark Balance and Stroke Direction controls. Click OK.

Step 2 >> To add a little more color to your Graphic Pen ‘drawings’ select colors other than black and white for the foreground and background values. Double-click each swatch to open the Color Swatch palette where you can select the new color. Here I changed the pen color to brown and the paper color to light cream.

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Switching photographic tones with pastel strokes (See b) As well as the pen and ink approach used above, another favorite with artists is the use of pastels or chalks on a roughly textured paper surface. The tones of the picture are layered upon the paperâ&#x20AC;&#x2122;s texture so that the image detail gradually emerges from the background as a combination of stroke, color and texture.

Step 1 >> To create this effect we make use of the Rough Pastel ďŹ lter. The feature contains two distinct control sections. The upper two sliders, Stroke Length and Stroke Detail, are used to adjust the way that the photographic tone is converted to pastel strokes. With the preview window zoomed in to 100% move both sliders until you are happy with the mix of detail and tone.

Step 2 >> When drawing with pastels artists often use a heavily textured paper as a base for the picture. The lower section in the Filter dialog is used to apply such a surface texture to your pastel image. Here you can select the texture type (canvas, burlap, sandstone), the size of the texture (scaling), the strength of the texture effect (relief) and the direction of the light that provides shadow for the surface. After making your texture selections, check the preview and readjust the stroke length and detail if necessary before clicking OK to complete.

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Creating a watercolor painting (See c) If you want to create the feeling of a painted surface rather than a drawn one then the Watercolor ﬁlter in Photoshop or Photoshop Elements is a good place to start. With this feature the tone and hue of the original photograph is converted to daubs of semi-transparent color with the larger areas surrounded by a darker border edge. To make the effect even more convincing I have applied a texture to the picture after the watercolor conversion.

Step 1 >> Start by opening the Watercolor ﬁlter from the Artistic option of the Filter menu. Next, with the preview set to 100%, adjust the Brush Detail and Shadow Intensity sliders to suit the picture. The third slider, Texture, is used to control the break-up of the painted areas rather than any simulated paper texture. This comes in the next step. Click OK to ﬁlter.

Step 2 >> Now to add a surface treatment to the picture that will really make the conversion to a watercolor painting complete. For this task we will use the Texturizer (Filter > Texture > Texturizer) ﬁlter which has the same controls and options that we looked at in the Rough Pastel ﬁlter. We can choose the type, scale, relief and light direction that will be used for the texture. Be sure to preview the effect of the settings at 100% before clicking OK to apply.

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Pop art posters (See d) Andy Warhol made the technique famous in the sixties and now you can recreate his posterized effect using your own pictures. Warhol’s images were extremely graphic and constructed of very few colors, which were then applied in broad ﬂat areas of the picture. Others like Roy Lichtenstein added a cartoon-like feeling to the pop art pictures by including a black line around colored areas. Here we will use the Cutout and Poster Edges ﬁlters to recreate this image style.

Step 1 >> To start we will use the Cutout filter (Filter > Artistic > Cutout) to reduce the colors in the picture and to simplify the photographs detail. The feature contains three sliders. The first , No. of Levels, determines the number of colors that will be present in the final picture. Smaller values mean less colors. The Edge Simplicity and Fidelity sliders are used to determine the amount of detail that is retained in the picture. Try several settings to ensure that you have a good balance of detail and flat tone. Click OK to filter.

Step 2 >> The final step in the pop art transformation is to add a black surround to the flat areas of color. For this job we will use the Poster Edges filter (Filter > Artistic > Poster Edges). The Edge Thickness slider adjusts the width of the line drawn around the picture parts, the Edge Intensity slider controls the darkness of the line and the Posterization setting is a further color reduction control. Check how the results of your settings appear when previewed at 100% and then click OK to complete.

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Professional Retouching

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hen it comes to retouching, Photoshop Elements and Photoshop are deﬁnitely the royalty amongst image-editors. The programs jointly contain hosts of tools, ﬁlters and adjustment options that can help turn ordinary looking portraits into something that is truly dazzling.

After

The shear power and dominance of the programs in this area is not difﬁcult to see as most glossy magazine covers, family scrapbooks and wedding albums contain a plethora of photos that have been ‘shopped’ in one way or another. The results, in most cases, are amazing and in a few instances, even a little scary. But for the average photographer (judging by the requests from readers) the interest is not about wanting to recreate the plastic look of celebrity stardom but

Before

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Technique 801>> Add a dreamlike glow to your portraits using the Diffuse Glow filter.

Technique 802>> Decrease the appearance of freckles whilst still retaining the texture of the skin.

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Technique 803>> Remove wrinkles and skin blemishes without destroying the realism of the photo.

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Visual surgery without a hint of anything plastic So with this in mind, I present here a few of the basic techniques that are used by portrait photographers on a daily basis. Most work with, rather than paint over, the basic structure and texture of the modelâ&#x20AC;&#x2122;s face and in so doing they carefully enhance what already exists rather than replace it with something that is manufactured.

Technique 804>> Correct the red skin tones that sometimes appear around noses, cheeks and ears.

Technique 805>> Clean up tired looking eyes with two simple adjustment layers.

Technique 806>> Remove shiny areas of skin and the dark tones beneath the eyes.

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rather it centers around the gentle art of photo enhancement. And in truth, I feel that this is the best use of the retouching power of programs like Elements.

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8.01 Adding a dreamy effect Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic Menus used – Filter | Resources – Web image 801

The Diffuse Glow filter is one of the Distort group of filters that can be found in Photoshop Elements. The feature creates a highkey (very light), glamorous and slightly grainy glowing version of your picture. The filter is great for smoothing out surface marks on the skin of your subject and is often used to add a Hollywood feel to portraits. Try low settings to start with, keeping an eye on the changes in the filter’s preview window to ensure that you are not losing important picture detail in the surface glow. The Filter dialog contains three sliders and a preview window. The Graininess control alters the dominance of the noise that will be added to the picture. The Glow Amount slider changes the strength of white glow in the picture (and how much detail is lost to it). The Clear Amount slider acts as a counter balance to the Glow Amount restoring detail in the glowing areas of the picture.

The Diffuse Glow ﬁlter adds a glamorous touch to standard portrait images.

Step 1 >> Make sure that the default foreground and background colors are selected and then with your picture open select the Diffuse Glow ﬁlter from the Distort group in the Filter menu. Alternatively you can also choose the feature from the Effects palette (Filters > Distort).

As it is often difficult to determine how well the filter will work, apply the changes to a copy of the image layer first and then, with this filtered layer above the original, change its opacity to vary the strength of the final effect.

Step 2 >> With the Filter dialog open make sure that the Preview option is clicked and that the preview window is set to 100%. Adjust the three sliders in turn carefully previewing the results. If necessary, drag the visible area in the preview window to examine more closely the changes in other areas of the picture. Click OK.

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Step 3 >> As a ﬁnishing touch for this example I decided to apply a little sharpening to the eyes to ensure that they stood out from the rest of the scene. Using the Filter > Sharpen > Unsharp Mask feature increase the Levels value to restrict the changes to the areas of the picture with the greatest contrast. Click OK to complete.

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8.02 Softening freckles Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Tools – Brush | Resources – Web image 802

So many good retouching techniques are not about totally removing or changing the basic structure or makeup of the model’s face. Instead, the aim should be to gently enhance the existing skin tones and textures. There is nothing worse, nor more obvious, than an overworked portrait where the skin’s original texture and tone are replaced with a ﬂat (or sometimes even shiny) surface that has more in common with plastic appliances than anyone I know.

The Brush tool in Lighten blend mode is used here to reduce the dominance of the model’s freckles.

The example image is typical of the sort of photograph that is normally overworked. In an attempt to smooth out the appearance of the model’s freckly skin most photographer’s completely remove this skin characteristic with the result that the ﬁnal portrait resembles a computer-generated model rather than an actual living and breathing person. This technique aims to reduce the dominance of the freckles rather than removing them totally. In this way the underlying structure of the face shines through and is complemented with, rather than overridden by, just a hint of the freckles.

Step 1 >> Select the Eyedropper tool and then check to see that the Sample Size (in the options bar) is set to average 3 × 3 or 5 × 5 pixels. Next select a ﬂesh color from the portrait that represents a midtone of the range available across the face surface. Pro’s Tip: The tone you select at this point in the process will determine which freckles are lightened. Choosing a darker skin tone will change only a few of the darkest freckles whereas a lighter tone selection will alter both midtone and dark freckles.

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Step 2 >> With the skin tone selected the next step is to select the Brush tool and then switch the tool’s blend mode to Lighten. Do this by selecting the Lighten option from the drop-down mode list in the tool’s option bar. When the brush is in the Lighten mode Elements compares the paint color with the pixels being painted over. If the pixels are darker then they are replaced with the paint color, effectively lightening the area.

Step 3 >> The next step is to adjust the opacity of the Brush. Turn again to the options bar and this time reduce the opacity to about 40%. An opacity setting of 100% would produce a result that was too smooth. Reducing the opacity has the effect of allowing a little of the old freckle texture to show through – maintaining the feeling of realism whilst reducing the freckle’s dominance. Now paint away, being careful not to paint over details like eyelashes as you go.

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8.03 Eliminating blemishes Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Tools – Spot Healing Brush, Healing Brush, Clone Stamp | | Resources – Web image 803

Ethical issues aside, Photoshop Elements is a great tool for removing, or at least making less pronounced, a variety of unwanted photo elements. Despite the fact that skin blemishes and wrinkles are a normal everyday occurrence for most of us, photographers are constantly asked to retouch these sections of portrait photos. Like all other techniques discussed here, the secret behind successful retouching of these areas is not to remove them completely but rather to reduce their appearance. With this in mind let’s look at the three tools that Elements offers for blemish removal and then set these tools to work on a typical portrait image.

Clone Stamp tool

Healing Brush tool

The most basic of all the retouching tools is called the Clone Stamp tool (or sometimes the Rubber Stamp tool). The feature selects and samples an area of your picture and then uses these pixels to paint over the offending marks. It takes a little getting used to, but as your confidence grows, so too will the quality of the repairs and changes you make. There are several ways to use the tool. For starters, it acts like a brush, so changing the tip size allows cloning from just one pixel wide to hundreds across. You can also change the opacity in order to produce a range of subtle clone effects. It can be used in conjunction with any one of the options from the Blend menu and, most importantly, there’s a choice between Cloning aligned or non-aligned with the sample area. Select Aligned and the sample cursor will follow the destination cursor around keeping a constant distance between the two. When the Aligned option is unchecked the sample cursor starts where you left off with all ensuing paint strokes. Both choices have their advantages.

The Healing Brush is designed to work in a similar way to the Clone Stamp tool; the user selects the area (Alt-click) to be sampled and then proceeds to drag the brush tip over the area to be repaired. The tool achieves great results by merging background and source area details as you paint. Just as with the Clone Stamp tool, the size and edge hardness of the current brush determines the characteristics of the Healing Brush tool tip. One of the best ways to demonstrate the sheer power of the Healing Brush is to remove the wrinkles from an aged face. In the step-by-step example image we used here, the deep crevices of the model’s face have been easily removed with the tool. The texture, color and tone of the face remain even after the ‘healing’ work is completed because the tool merges the new areas with the detail of the picture beneath. Note: Sometimes the best source for sampling can be found in a different photo. With these both the Clone Stamp and Healing Brush tools, you can Altclick in any open photo and sample from it.

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By carefully using any of the three retouching tools in Photoshop Elements it is possible to gently remove skin blemishes and signs of age like wrinkles and cracks.

Spot Healing Brush In recognition of just how tricky it can be to get seamless dust removal with the Clone Stamp tool, Adobe decided to include the Spot Healing Brush in Photoshop Elements. After selecting the new tool you adjust the size of the brush tip using the options in the tool’s option bar and then click on the dust spots and small marks in your pictures.

The Spot Healing Brush uses the texture that surrounds the mark as a guide to how the program should ‘paint over’ the area. In this way, Elements tries to match color, texture and tone whilst eliminating the dust mark. But don’t just use this tool for spots scratches too can get the treatment by click-dragging the tool’s tip across the mark. The results are terrific and this tool should be the one that you reach for first when there is dust to remove from your photographs.

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Clone Stamp tool step-by-step

Step 1 >> The Clone Stamp tool works by sampling a selected area and pasting the characteristics of this area over the blemish, so the ﬁrst step in the process is to identify the areas in your picture that need repair. Then make sure that the image layer you want to repair is selected. Some photographers create a new layer and then apply their cloning to this layer. If this is your approach then also ensure that the Sample All Layers option is selected.

Step 2 >> Next, locate areas in the photograph that are a similar tone, texture and color to the picture parts that need ﬁxing. It is these sampled areas that the Clone Stamp tool will copy and then use to paint over the model’s wrinkles. At this point you can also alter the transparency of the cloning action by adjusting the Opacity slider in the tool’s options bar. Values less than 100% will let some of the original texture through the clones areas.

Step 3 >> Now to select the area to be sampled, or the ‘Sample Point’. Do this by holding down the Alt key and clicking the left mouse button when the cursor (now changed to cross hairs) is over a part of the image that suits the area to be repaired.

Step 4 >> With the sample point selected you can now move the cursor to the area to be ﬁxed. Click on the blemish and a copy of the sample point area is pasted over the mark. Depending on how well you chose the sample area, the blemish will now be blended into the background seamlessly. Continue to click and drag to repair more areas.

Step 5 >> You may need to reselect your sample point if you ﬁnd that the color, texture or tone doesn’t match the surrounds of the blemish. You can also change the brush size and hardness to alter the characteristics of both the sample and stamp areas. A softer edge helps blend the edge areas of the newly painted parts of the picture with the original image. Simply select a different brush tip from the Brush Preset drop- down palette.

Step 6 >> Switching between aligned and non-aligned (when the Aligned option is not selected) can really help when you are rebuilding missing parts of your restoration project. ‘Aligned’ sets the sample point so that it remains the same distance from the stamped area no matter where on the picture you start to click, and ‘Non-aligned’ repositions the sample point back to the original sample spot each time the mouse is moved and then clicked.

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Healing Brush tool step-by-step

Step 1 >> The Healing Brush is also a two-step process. After selecting the tool hold down the Alt/Option key and click a clear skin area to use as the sample for the healing. This action is the same as you would take when using the Clone Stamp tool to select a sample point.

Step 2 >> Now move to the area to be repaired and click-drag the cursor over the blemish. The Healing Brush will use the tones, textures and color of the sampled area to paint over the blemish but unlike the Clone Stamp tool, the Brush takes into account the general tone of the repair area and does a great job of seamlessly merging the new detail with the old.

Step 3 >> Like the Clone Stamp tool the Healing Brush contains a Sample All Layers option enabling photographers to perform nondestructive editing of their photos by painting the retouched areas onto a separate layer. Using a retouching layer also means that you can interactively adjust the strength of the changes via the layer’s Opacity settings.

Spot Healing Brush tool step-by-step

Step 1 >> The Spot version of the Healing Brush removes the sampling step from the process. To use the brush you simply select the feature, adjust the brush tip size and harness and then click onto the blemish. Almost magically the Brush will analyse the surrounding texture, color and tones and use this as a basis for painting over the problem area.

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Step 2 >> The Spot Healing Brush can also be used for removing marks, hairs, streaks or cracks by clickdragging the tool across the offending blemish. Pro’s tip: If unwanted detail is used to cover the repaired area undo the changes and then draw around the area to be healed with the Lasso tool and apply the brush again. This restricts the area around the blemish that the tool uses to heal.

Step 3 >> Like both of the previous tools the Spot Healing Brush also contains a Sample All Layers option enabling photographers to perform non-destructive editing of their photos by painting the retouched areas onto a separate layer. Using a retouching layer also means that you can interactively adjust the strength of the changes via the layer’s Opacity settings.

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8.04 Removing the Red Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Tools – Lasso | Resources – Web image 804

In this example the model’s bright red (or is that orange) hair is coloring the light that is reﬂected back onto the skin tones making them quite warm. This is particularly noticeable in the shadow areas of the face and around the hands. Add to this the fact that there is an obvious magenta tinge to the areas around the nose and chin and you can see that we need to do some color correction to the portrait. Your initial thoughts might be to reach for the Auto Color Correct and Color Variations feature and use these to reduce the warmth in the photo but this action has the effect of reducing the vibrancy of the hair color at the same time as neutralizing the skin tones. This is not a desired scenario as the hair color is one of the strongest aspects of the image. So instead of making global (all over) changes to the picture this technique uses the Eyedropper tool to sample an area of neutral skin and then employs the Brush tool in Color mode to paint out the overly warm tones. This technique can be used to neutralise ‘red ears’ or the ‘red nose’ that is a sure sign of too much indulgence of the wine variety. The way that color applied with the Brush tool interacts with the pixels being painted over is determined by the blend mode selected at the time of painting. By default the Brush tool’s mode is set to normal which causes the paint to obscure the pixels beneath, but Photoshop has many other ways to control how these pixels interact. Called blend modes, these different options provide a variety of ways to control the mixing, blending and general interaction of the paint and the content beneath. Blend modes can also be applied to the drawing tools via a drop-down menu in the tool’s options bar as well as individual layers via the drop-down menu located at the top left of the Layers palette. The retouching technique outlined here makes use of the Color blend mode to neutralize the red or magenta tinges that sometimes appear in portraits.

Step 1 >> Start by ensuring that the Eyedropper tool’s Sample Size is set to an average of either ‘3 × 3’ or ‘5 × 5’ pixels and not the Point Sample setting. To do this select the tool and then choose a different option from the drop-down list on the tool’s options bar. This change will make sure that when you use the tool that you sample an average of the pixel tones and colors rather than just a single pixel’s value.

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Step 2 >> Next locate a portion of skin tone that is free from red or magenta casts and click on it with the Eyedropper tool. You will notice that the foreground color in the toolbox now contains the color you sampled. Check to see that the color is not too dark or light and that the hue is free from any strange casts. If this isn’t the case, then resample a different areas of skin until you are happy with the color.

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Even out skin tones by sampling and using the model’s own skin color to remove unwanted areas of red and magenta.

Step 3 >> With the skin color set as the foreground color select the Brush tool and change the Blend mode from Normal to Color (towards the bottom of the drop-down list in the Brush tool’s options bar).

Step 4 >> The last step in the process is to apply the skin colored paint over the red/magenta areas in the photo. Notice that because the brush is in the Color mode that the paint is laid down in such a way that the details of the photo beneath are retained and only the color is altered.

Step 5 >> A non-destructive version of this technique starts with creating a new empty layer above the original photo. Next change the Blend mode of the new layer to Color using the drop-down list at the top of the Layers palette. Select the skin tone with the Eyedropper tool and then switch to the Brush tool. Make sure it is set to the Normal mode and then brush this color onto the new layer. With this approach the colorization of the skin is handled by the layer’s blend mode.

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8.06 Brighten Eyes Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Intermediate Tools – Lasso | | Resources – Web image 806

No amount of clever photography or tricky lighting can cover the traces of lack of sleep or overindulgence in the eyes of your model. A set of ‘sore red eyes’ staring back at you can easily ruin an otherwise well-produced photo. Elements certainly has the tools to add back the sparkle and life, but over enhancing can easily lead to sci-ﬁ like results. This technique uses a selection with a couple of adjustment layers for its effect, allowing changes and ﬁne-tuning to the strength of the effect at a later date.

Step 1 >> Use the Lasso tool to make a careful selection around the main part of the eye. Soften the edge by choosing Select > Feather. Here I used a value of 5 pixels but the setting you use will be determined by the pixel dimensions of your photo. Photos with more pixels will need a larger feather, those with less a smaller amount.

Step 2 >> With the Eyes selections still active, create a new Levels adjustment layer by choosing Layer > New Adjustment Layer > Levels. Notice that because of the active selection a mask has been automatically added to the adjustment layer.

Step 3 >> The addition of a mask means that the changes made in the Levels dialog will be restricted to the clear part of the mask (the eyes). Add a simple brightening and contrast adjustment by dragging the black and white. Click the OK button to apply the changes. Re-select the eye areas by Ctrl/Command clicking the mask section of the adjustment layer.

Step 4 >> Now add a Hue/Saturation adjustment layer. Again the changes will be limited to the eyes via the mask. Select Red in the drop-down Edit menu at the top of the dialog and then pull down the Saturation slider and push up the Lighten setting. This will help to lessen the red veins in the eyes. Click OK to apply.

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8.07 Tone down skin highlights and shadows Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Tools – Brush | Resources – Web image 807

The example image has all the attributes of a great portrait but as with a lot of photos of this type there are a couple of places where the model’s skin is a little shiny and the area under her eyes is a little dark. Gentle lightening of the dark areas and darkening of the light area are two techniques that, when mastered, you will use often when enhancing your portrait images. This technique makes use of the Brush tool in both Lighten and Darken blending modes, along with the model’s own skin color, to reduce the appearance of these areas in the ﬁnal image.

Step 1 >> Start by selecting the Brush tool from the tool bar. Next go to the tool’s options bar and select Darken as the Brush mode. At the same time I also adjust the opacity of the tool so that a little of the original texture remains after retouching. Then select a ﬂesh tone that is slightly darker than the highlight areas whilst still using the brush by holding down the Alt key and clicking on the skin color.

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Remove shiny skin areas and bags under the eyes using the Brush in Lighten/Darken modes.

Step 2 >> Next gently brush over the shiny areas on the model’s nose, forehead and cheek regions. When brushing using the Darken mode, only the pixels that are lighter than the sampled color will be adjusted. For the best results keep selecting different sample colors as you brush. Pro’s tip: For even more control apply the enhancement changes to a separate layer. The strength of the changes can then be adjusted via the layer’s Opacity setting.

Step 3 >> The same technique can also be used to lighten the dark areas under the model’s eyes. This time select the Lighten mode before sampling a ﬂesh tone that is slightly lighter than the dark areas you want to ﬁx. Again make sure that you choose a range of sample tones whilst brushing to ensure that the results are not too uniform and plastic looking. If you applied the changes to a separate layer, adjust the opacity of the layer to bring back some of the underlying face structure.

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8.08 Retouching non-destructively Suitable for Elements – 6, 5.0, 4.0, 3.0 | Difﬁculty level – Intermediate

When ﬁrst starting to retouch your portrait photos it seems logical to apply the changes directly to the photograph or image layer itself, but this is not the way that most professional photographers work. For them the original picture is like the negatives of old and should be carefully maintained and not changed in any way. For this reason you will often hear them talking about employing non-destructive editing techniques as an alternative method for retouching their photos. We have already touched on some of these techniques but they are so important let’s take a look at them again in the context of enhancing portraits. Remember these techniques produce the same results as editing the original image but employ some advanced Elements options that leave these ‘virgin’ pixels untouched.

Sample all layers

Step 1 >> Retouching features such as the Clone Stamp, Spot Healing Brush and Healing Brush tools all contain an All Layers setting on their options bar. Designed to allow the tools to retouch the contents of several layers this option can also be used to protect your original photo pixels.

Use Adjustment layers

Step 2 >> To make use of this option for non-destructive retouching ﬁrstly create a new blank layer above the image layer. Make this the active layer and then select the retouching tool and choose the Sample All Layers option. Now when you retouch the changes will be stored on the newly created layer.

Retouch duplicate layer

Mask editing adjustments

Step 1 >> If the technique you are using can’t be applied non-destructively then make a duplicate of the image layer and make the changes to the copied image instead of the original. This also gives you the chance to adjust the strength of the changes with the layer’s Opacity slider.

Step 1 >> Keep in mind that you can mask the effects of adjustment layers by selecting the layer mask in the Layers palette and then painting onto the image with black to hide the effect and white to apply the change.

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Step 1 >> Many of the editing or enhancement changes that are possible via the options in the Enhance menu can also be applied via Adjustment Layers. Wherever possible use an Adjustment Layer to make a change rather than applying the alteration directly to the image.

Step 2 >> You can also selectively apply the effects of a duplicate image layer by grouping this layer with a blank (no settings applied) Levels adjustment layer. Once grouped painting onto the Levels layer mask will either hide or apply the changes made in the duplicate layer.

PHOTO RESTORATION

Photo Restoration

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s a digital photography author one of the areas that I am often asked about is photo restoration. As photographers, it is a editing activity that most of us will attempt at least once during our life time. After all, many of the memories of important family events and history are associated with images of the time and, even with the right care and attention, lots of these photos end up a little worse for wear. In this chapter I thought that I would present you

with a variety of techniques that you can use to restore, or repair, those images most precious to you. Rather than detailing the techniques in isolation, where sometimes they lose signiﬁcance, I have chosen to apply them as part of a process of restoring ‘real life’ photos. As you will discover, most retouching projects require the application of a variety of techniques in multiple steps to coax the

Before

Restoration basics

Dust and Scratches tricks

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Uncovering the faded

Correcting wayward colours

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Restoring old slides

Adjusting shadow tones

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aged photo back to its best. So even though the example photos presented here have quite different problems (and associated solutions) they also contain some degree of overlap in areas such as removing of dust and scratches. These techniques are by no way an exhaustive list of all that are possible, but they will provide you with a good basis to start your restoration work.

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Below and opposite >> The example images here are shown with the before versions above and the after results below. The main restoration tasks involved with each photo are listed in the headings and all the techniques used to produce the results displayed here are contained on the following pages.

Recreating missing content

Removing stains

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9.01 Restoration basics Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 901

In the last chapter we looked at how the retouching tools in Photoshop Elements can be used to remove unwanted marks and skin details in portraits. In this chapter the same tools are used for critical restoration and surgery work and with some photos, they are even called upon, to recreate detail that has been lost. Though the application is different, the basic functionality of features such as the Clone Stamp Tool, Spot Healing Brush and Healing Brush, remains the same. Let’s look at how a feature like the Clone Stamp can be used in the world of Photo Restoration.

Step 1 >> The Clone Stamp tool works by sampling a selected area and pasting the characteristics of this area over the blemish, so the ﬁrst step in the process is to identify the areas in your picture that need repair. Make sure that the image layer you want to sample is selected. NB: To work non-destructively, create a new blank layer above the background and select All Layers in the options bar.

Step 2 >> Next locate areas in the photograph that are a similar tone, texture and color as the areas needing to be ﬁxed. Use these areas to paint over the dust and scratches marks. Select the area to be sampled by holding down the Alt key and clicking the mouse button when the cursor (now changed to cross hairs) is over a part of the image that suits the area to be repaired.

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Step 3 >> With the sample point selected you can now move the cursor to the area to be ﬁxed. Click on the blemish and a copy of the sample point area is pasted over the mark. Depending on how well you chose the sample area, the blemish will now be blended into the background seamlessly. Continue to click repairing more blemishes as you go.

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The Clone Stamp tool is handy for removing dust and scartches but can also be used for recreating the detail lost in areas such as cracks or tears.

Step 4 >> You may need to reselect your sample point if you ﬁnd that the color, texture or tone doesn’t match the surrounds of the blemish. It may also be necessary to change brush size to suit different repair tasks. Changing the brush size will alter the size of both the sample and stamp areas.

Step 5 >> For difﬁcult repair jobs where you need to recreate picture elements select a similar part from the photograph as your sample point. Here the seam in the dress above the scratch is sampled to repair the damaged area. The same process is used to recreate the folds in the fabric and the texture of the glove.

Step 6 >> Switching between aligned and non-aligned can really help you rebuilding picture parts. Aligned – sets the sample point so that it remains the same distance from the stamped area no matter where on the picture you start to click, and Non-aligned – repositions the sample point back to the original sample spot each time the mouse is moved and then clicked.

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Removing dust automatically >> One of the most tedious jobs for the digital photographer is the removal of dust and scratch marks from a badly damaged slide or print. Using the Clone Stamp tool to patch each individual mark can take considerable time and effort. A more automated approach that doesn’t soften the detail in an image is detailed here. It uses the much besmirched Dust and Scratches ﬁlter in conjunction with the Layer blending modes to restrict changes to just the areas where it is needed.

9.02 Dust and scratches be gone Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 902 Menus used – Layer, Filter

The enticingly named Dust and Scratches filter (Filter > Noise > Dust and Scratches) teases us with the promise of a simple solution to repairing the dust and scratches in our scanned pictures. Nearly always the results of using the filter are disappointingly soft or the tones flattened. It is not that the filter doesn’t obscure or disguise the problem marks, it is just that in doing so the rest of the image is also filtered. In areas where there is no dust this causes a deterioration of the picture. If only we could restrict the application of the filter to just the areas where the dust marks appear the results would be more usable. Pro’s Tips for using the Dust and Scratches filter: 1. Always start with both sliders set to 0. 2. Move the Radius slider first until the marks disappear. 3. Next move the Threshold slider until the texture of the image returns. Do not move this slider so far that the marks start to reappear.

The Lighten and Darken blending modes in Elements can be used for just this purpose. By applying the Dust and Scratches filter to a copy of the background and then blending this filtered layer using the Darken mode, the layer will only change the light dust marks of the original image and will leave the rest of the image unaffected. Similarly a second copy layer also filtered for dust and scratches could also be applied to the original image using the Lighten blending mode to remove the black marks from the picture. If we then control where the effects are applied with a layer mask then it is possible to restrict the changes made by the Dust and Scratches filter to just the areas where it is needed most.

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Step 1 >> Start the technique by copying the base layer by dragging the background to the New Layer button at the bottom of the Layers palette. Label the new layer Darken Light Spots.

Step 2 >> With the new layer selected apply the Dust and Scratches ﬁlter. Start with both sliders set on 0. Move the Radius slider ﬁrst until you see the dust spots disappear. Next gradually move the Threshold slider to the right until the texture returns to the picture – not so far that you start to see the spots again.

Step 3 >> With the Darken Light Spots layer still selected change the mode of the layer to Darken. This will only apply the dust and scratches changes to the areas where this original layer is lighter – the white dust spots.

Step 4 >> Add a Levels adjustment layer with no changes to the default settings above the background layer. Select the Darken White Spots layer and the choose Layers > Group with Previous.

Step 5 >> Select the layer mask of the Levels adjustment layer and then choose the Edit > Fill Layer option to ﬁll the mask with black. This action hides the upper layer and reveals the unretouched layer beneath.

Step 6 >> With the layer mask still selected choose white as the foreground color and proceed to paint onto the canvas over the white marks in the photo. The white strokes will reveal the results of the upper layer.

Step 7 >> Create a copy of the background layer and label it ‘Lighten Dark Spots’. Apply the Dust and Scratches ﬁlter to remove the black marks and change the mode of this layer to Lighten.

Step 8 >> Create a blank Levels adjustment layer and then group it with the Lighten Dark Spots layer. Fill the Levels layer mask with black to hide the ﬁltered results.

Step 9 >> With white set as the foreground color and the mask still selected paint over the dark marks on the picture with the Brush tool.

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9.03 Uncovering the faded Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 903 Menus used – Layer, Enhance

Unfortunately this treasured family photo is well and truly past its prime. Poor storage and exposure to bright light has caused the image to almost fade completely. Though complete restoration is almost impossible due to the extent of the fading it is worth noting the techniques that are used here to conjure hidden detail from the vintage photo.

Step 1 >> Using the Levels feature (Layer > New Adjustment Layer > Levels) in Photoshop Elements you can adjust black and white points of the photo. To set the shadow tones, hold down the Alt key and then drag the black point input slider to the right until the ﬁrst pixels are revealed in the preview. Now move the slider slightly to the left until no clipped pixels are shown.

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Step 2 >> Next we will set the highlight tones. With the Alt key still pressed, drag the white point slider towards the left until you see the ﬁrst clipped pixels displayed in the preview, then move the slider slightly to the right until no pixels are shown.

Step 3 >> With the white and black points set, it is time to encourage hitherto hidden detail from the rest of the photo. We can do this with some careful adjustment with Adjust Color Curves control, but this feature can not be used as an Adjustment Layer so the ﬁrst step is to Select > All the document and the Edit > Copy Merge to store a composite of all the visible layers in memory. Final Edit > Paste to create a new layer based on the merged details.

Step 5 >> In the process of removing the red cast and converting the picture to grayscale it is also possible to emphasize other hidden detail using the Convert to Black and White feature (Enhance > Convert to Black and White). Adjusting the red and blue color range changes how these hues are mapped to gray provided more opportunity to reveal details hidden by the cast.

Step 6 >> To remove marks, spots and scratches a new blank layer is added to the layers palette above the picture merged layer. Target the new layer and then use the Spot Healing Brush with the Sample All Layers option selected to repair the damaged areas.

Step 4 >> Now we can alter this layer with the Adjust Color Curves option. Here I selected the Increase Contrast Style ﬁrst and then customized the enhancement by moving the Adjust Sliders until the Curve diagram resembled the classic steep ‘S’ shape. This adjustment spreads the tones and provides more contrast overall.

Step 7 >> The final step is to add some definition to flat or faded sections of the photo. Do this by adding a new blank layer (Layer > New > Layer) at the very top of the layers stack. Change the Blend Mode to Soft Light and then use a black soft-edged brush to burn-in detail, or a soft-edged white brush to lighten sections.

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9.04 Levels based color restoration Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web image 904 | Menus used – Enhance

Old images, whether they be captured on color films, negatives or slides, are prone to fading and color changes as the dyes they are constructed of break down. It is a source of concern for all photographers who have big collections of images stored away in attics, cupboards or under the bed. After all, many of these photographs, though not valuable in the commercial sense, are irreplaceable as they hold glimpses of a family’s history and echoes of days gone by. Recently a loyal reader and avid Elements user emailed me with exactly this problem. Tom Edwards asked me if I had a solution for restoring the color to the hundreds of fading slides that he had taken in the Orient in the early 70s as they now all appear to be turning red. The first step in any such restoration work is diagnosing the problem that is causing the color shift and fading. To get a good understanding of the cause I always turn to the Levels feature (Enhance > Adjust Lighting > Levels) for help. It contains a descriptive display of the spread pixels in the image and also includes the tools needed to coax the picture back to life. When the Levels feature is first opened it displays a graph of the combined red, green and blue pixels. This is signified by the RGB label in the Channels drop-down menu. To really see what is happening to the tones in your picture select and view the graph for each of the individual color channels. The graphs for each channel of Tom’s example image can be seen to the right. Notice how the green and blue channels are fairly similar but the red channel has all the signs of being overexposed, that is, all the tones being pushed to the right end of the graph. This is where our problem lies. To help restore the original color and brightness of the photograph the tones of each of the color channels have to be adjusted individually. Starting with the red channel, drag the black input triangle towards the center of the graph until it meets the first major group of pixels. Do the same for the green and blue channels, but with these also adjust the white point Input slider in the same way. This action will help to restore the color and contrast of the picture and will give good results for all but the most faded slides or prints. Final adjustments to tone and the removal of any slight color casts that remain can be achieved using levels on the combined RGB channel setting and the Color Variations features. Book resources at: www.adv-elements.com

Restoring faded slides >> When you look at the histogram for each of the red, green and blue channels separately it is easy to see why the faded slide appears so warm. (a) Red channel. (b) Green channel. (c) Blue channel. To restore the color in the image work on each channel separately, dragging the white and black points in to meet the ﬁrst major group of pixels. This will balance the distribution of the tones in each of the channels and restore the slide’s color and contrast.

PHOTO RESTORATION

Step 1 >> Open the Levels feature from the Enhance > Adjust Lighting or Layer > New Adjustment Layer menus.

Step 2 >> Start with the red channel and drag the black input triangle to meet the ﬁrst group of pixels.

Step 3 >> Next select the green channel and move both the white and black input sliders to the ﬁrst group of pixels.

Step 4 >> Make the same black and white point adjustments for the blue channel as well.Click OK and then Select All, Copy Merge and Paste.

Step 5 >> With the image now balanced, target the Copy Merged layer and use Color Variations to remove any color casts that remain.

Step 6 >> As a ﬁnal check of the tones open the Levels feature again and adjust white, middle and black points for the composite channel (RGB).

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PHOTO RESTORATION

Fading slides >> Over time traditional color photographs, slides and negatives can show signs of fading and take on a dominant color cast. Using the color correction and tonal change tools in Elements might not be aggressive, or selective enough, to correct these problems. Instead use the steps detailed here to rebalance the tones and colors in your picture. Image courtesy of Tom Edwards © 1972.

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9.05 Working with a scanned print Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 905 | Menus used – Enhance

Okay with these basics under our belt let’s look at how to restore a scanned print rather than a scanned slide. Unlike their traditional black and white counterparts, color photographic prints often suffer from dramatic fading, or color changes, after only a few years of viewing. In this example as was the case with the previous slide, the image has become very red. Apart from the removal of dust marks and the lightening of the photo, restoration will involve the reorientation of the photo and the correction of the dominant color.

Step 3 >> To remove the dominant red cast, start by adding a new Levels adjustment layer. In the Levels dialogue, select the Red channel from the drop-down menu and drag the black and white input sliders inwards. Hold down the Alt key while you do this to ensure that no pixels are clipped.

Step 1 >> Like many a scanned image, this photo ended up being a ‘little’ crooked when it opened in Elements. So the ﬁrst step is to straighten the photo. To do this select the Straighten tool from the toolbar and click-drag a measurement line a along the top edge of the photo.

Step 2 >> To remove the excess background automatically, select the Magic Wand tool and select the background. Now Inverse the selection and choose the > Crop command. Hit the Ctrl D keys to deselect.

Step 4 >> Repeat this process for both the Green and Blue channels in the Levels dialogue before clicking the OK button. Now ﬁne-tune the brightness and contrast of the picture with the addition of a Brightness/Contrast adjustment layer. Make any ﬁnal color changes with a Color Variations feature to a Copy Merged layer.

Step 5 >> Now let’s turn our attention to the marks and scratches on the photo. A new layer is added above the copy merged layer. Using the Spot Healing Brush and with the new blank layer targeted in the Layers palette. The Sample All Layers setting is selected in the tool’s options bar and the small marks removed.

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PHOTO RESTORATION

Step 7 >> When cloning skin detail it is often a good idea to reduce the opacity of the tool and build up the repair areas slowly with repeated strokes. It also pays to move the sample point regularly to reduce the repetition of cloning content. Many photographers use a graphics tablet and stylus setup for this type of editing.

Step 8 >> With the simple marks and scratches removed it is now time to tackle the larger damaged areas in the photo. Here the missing detail must be reconstructed from other areas in the photo. Here I created a soft-edged selection of the boy’s hair and then copied and pasted the detail as a new layer.

Step 9 >> I then duplicated this new layer. To quickly create a copy of a layer hold down the Alt key and clickdrag a new copy to a different position in the document. Next each of the new ‘hair’ layers was selected in turn and the Free Transform tool (Ctrl T) used to deform the content to cover the damaged area.

Step 10 >> After creating, and targeting, a new blank layer above the copied hair layers, the Clone Stamp tool is then used to sample existing hair detail, color and tone and carefully blend the pasted detail with the background. Again the opacity of the tool was reduced and detail was built gradually with different sample points.

Step 11 >> A similar approach was used when reconstructing the missing portions of the faces in the photo. This time a soft-edge selection of the cheek and eye was created, copied and pasted into position on the opposite side of the face. Next this layer was ﬂipped (Image > Rotate > Flip Horizontal) and the content rotated to ﬁt.

Step 12 >> Flipping the copied face content meant that the cheek details were correctly position but left the eyes looking ‘cross eyed’. To correct this problem a second feathered selection was created of just the eye area. The eye was then copied, pasted and ﬂipped horizontally before the Move and Free Transform tools were used to massage the detail into place.

Step 13 >> The Clone Stamp tool and Spot Healing brush were then used to help blend the edges of the newly pasted content with the background details. This same process was used to reconstruct the other damaged areas in the photo.

Step 14 >> When making small adjustments or edits on highly magniﬁed sections of the photo it is a good idea to use the View > New Window for... option to display a second 100% view of the document being corrected. This provides a great way to check your work up close and at a distance at the same time.

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PHOTO RESTORATION

Step 6 >> Targeting the same layer, the Spot Healing Brush is switched to the Clone Stamp tool. The Current and Below setting is selected in the Sample drop-down menu of the tool’s options bar before cloning away marks and scratches not able to be corrected with the Spot Healing Brush.

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9.06 Extra correction help Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 906 | Menus used – Enhance

In the previous techniques we looked at how to balance the color of a photo with a dominant cast. With some images the Levels correction method still doesn’t provide completely cast-free results. An alternative method for achieving good results is to employ a specialist plug-in for the task. ASF (Applied Science Fiction) now owned by Kodak produces some specialist plug-ins for Photoshop Elements that work well with restoration projects. The Digital ROC (Recreation Of Color) plug-in automatically analyses corrects, balances and restores the color in problematic images. To give you an idea of how the plug-in performs we used it to correct the cast in the picture from the previous technique and it produced the results you see here. The plug-in contains two display windows. By default the left window previews the ﬁle after changes and the one on the right as a navigator panel and displays a before version of the photo. When ﬁrst opened the plugin analyses the color problems with the image and then automatically displays, what it considers, a ‘best correction’. You can modify the results with the color and brightness sliders on the right of the dialog.

The Digital ROC plug-in quickly restores the color to a problematic image like this one.

Step 1 >> When first opened the plug-in automatically analyses the color in the photo and then displays a corrected version of the picture. You can switch between before and after versions of the file with the settings under the main preview window. Use the three color slider controls to finetune the correction. Moving the slider towards a color will add the color to the photo and remove its opposite.

Some contrast changes can also be applied using the slipping adjustments at the bottom of the dialog. For best results, though, alter contrast with features such as Levels or Curves back in Photoshop. The contrast and brightness controls are only included in the professional version of the plug-in. For more details about Digital ROC or any of the other ASF plug-ins or to download a trial version go to www. asf.com.

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Step 2 >> As a ﬁnal step, in the Pro version of the plug-in, you can also adjust the brightness and contrast of the photo. If these options are not available then these changes can be made when the photo is back in Photoshop. Click the OK button to apply the changes, close the plug-in and return the corrected image to Elements. Complete the restoration by removing dust and scratches using the techniques described in the previous pages.

PHOTO RESTORATION

Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 907 | Menus used – Enhance

Some family heirloom images survive the ravages of time pretty much intact. This is the case with the example portrait we see here. Of course, there are a few marks, scratches, creases and a slight stain on the left to remove, but in addition to these enhancements, a good restoration job would also include the revealing of shadow details lost because of print overexposure or incorrect scanner settings.

Step 1 >> The ﬁrst step is for us to ‘peg’ the white and black points. Using a Levels Adjustment layer, the black and white point input sliders are dragged in towards the middle of the histogram while holding down the Alt key. Move the sliders until the point just before you start to see clipped pixels in the preview.

Step 2 >> Now that the black and white points are set, let’s reveal some of the hidden shadow details. Start by selecting all (Select > Select All), Edit > Cop Merged and then pasting (Edit > Paste) the content as a new layer. Then using the Adjust Color Curves feature select the Lighten Shadows Style from the menu.

Step 3 >> Now to ﬁne-tune the preset enhancment. First we will concentrate on the shadow areas. Move the Adjust Shadows slider to the right of the dialog. This will lighten and add contrast and separation to the shadow areas.

Step 4 >> This change will also slightly affect the midtones and highlights in the photo. To control these tones separately use the Midtone Brightness and Midtone Contrast sliders. Here I pushed the brightness slider to the right to lighten the midtones and the contrast slider to the left to reduce the contrast slightly.

Step 5 >> With the tones adjusted, the next task is to remove spots, creases and marks. A new layer is added (and targeted) above the copy merged layer. The Spot Healing Brush in the Sample All Layers mode is then used to non-destructively retouch these problem areas.

Step 6 >> To remove the noise that pervades the shadow area, a new copy merge layer was created and pasted above the other layers. This later was filtered with the Reduce Noise filter targeting the shadow noise. A No Settings Levels adjustment layer was then grouped with the filtered layer, the mask filled with black and a white brush used to paint in the noise reuction to the areas that need it.

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PHOTO RESTORATION

9.07 Adjusting shadow tones

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PHOTO RESTORATION

9.08 Recreating missing content Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 908 | Menus used – Enhance

The stylish surround of this vintage French portrait is suffering from a little neglect. To restore the photo to its former glory the corners and edge of the presentation card need to be recreated and the tones of the photo itself need a little tweaking.

Step 1 >> Before commencing any corrective work we will adjust the tones in the picture section of the document. So that these changes are applied to the photo only and not the textured background use the new Quick Selection Tool to isolate the circular shaped image.

Step 2 >> Next with the selection still active, a Levels adjustment layer is added to the document. Automatically a mask, the shape and size of the selection, is attached to the layer so that the changes are only applied to the selected area. Set the black and white points ﬁrst and then drag the middle input slider to the left to lighten.

Step 4 >> Now to recreate the corner content. Start by targeting the background layer and then selecting an unblemished section of the card surround with the Rectangular Marquee tool. Now choose Edit > Deﬁne Pattern. Enter a name in the Deﬁne Pattern dialog that appears and click OK. This pattern will be used for the repair work in the next two steps.

Step 5 >> To recreate the missing corners make a 1 pixel feathered selection in the same shape as the top left-hand corner but positioned at the bottom right of the card. This selection will conﬁne our pattern ﬁlling activities and rebuild the corner of the photo frame.

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Step 3 >> In the process of lightening and adding contrast, the strength of the vignetting effect has been diminished. Add a new layer above the adjustment layer and change the Blend mode to Soft Light. To rectify this Ctrl click the Levels mask to load the original selection. Now select a soft-edged black brush and paint around the selection’s edge to create a new vignette.

Step 6 >> Now fill the selection (Edit > Fill) with the newly created pattern (select Pattern in the Use menu). Create another selection in the opposite corner and fill it also. Now Lasso the torn side sections, add a 1 pixel feather and pattern fill this selection also. Next use the Healing Brush in Pattern mode with the new pattern selected as the source to disguise the new areas and repair the other wrinkles.

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9.09 Removing stains

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web image 909 | Menus used – Enhance

In this example, the repair work centered around the removal of a yellowish stain running through the middle of the photo. There was also the need to try and restore some details in the highlights sections of the photo.

ACR and JPEG/TIFF files The version of Adobe Camera Raw that ships with Photoshop Elements 6 is also capable of enhancing JPEG and TIFF files. Use the steps below to open your non-raw files in ACR: Step 1 >> Some of the highlight areas in the example file are clipped. The Recovery slider in Adobe Camera Raw 4 is able to reconstruct details in some blown highlights by referencing the details in the other channels. So the first step is to rebuild as much lost detail as possible using this control. NB: ACR 4 also works with TIFF and JPEG files as well as RAW formats. See side panel.

Step 2 >> Next the ﬁle is opened into Photoshop from Adobe Camera Raw. To remove the yellow stain a Black and White Adjustment layer dragged from a Photoshop donor document and added above the image layer. Double-click the layer thumbnail to open the feature. By adjusting the Yellow slider it is possible to hide the stain in the grayscale conversion process.

Step 3 >> To minimize the blue pen scribble on the subject’s nose, adjust the Blue and Cyan sliders. Variation in density of the stain or scribble may cause some or only part of the stain to disappear. This is the case here so we will have to resort to another process for the ﬁnal touch up of these problems.

Step 4 >> To retouch residual stains and other marks. Create a new layer above the background image layer but under the Black and White adjustment layer. Select the new layer and then choose the Spot Healing Brush. Change the brush settings to Sample All Layers in the options bar and proceed to retouch problem areas.

Step 1 >> Display the Elements Full Edit workspace. Next Select the File > Open As option. This enables the user to open specific documents as if they were created in a different format. In this scenario, we will use the option to open a TIFF or JPEG file as if it were a Raw file.

Step 2 >> Next navigate to the file in the file browser window and single click the entry. Choose the Camera Raw option from the Open As menu at the bottom of the Dialog. Click OK and the file will appear in the Adobe Camera Raw dialog. Process as you would normally and then select Open to transfer the converted file in to the Full Edit workspace with the enhancements applied.

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Step 5 >> After removing dust marks and scratches add another blank layer at the top of the layers stack. Change the Blend Mode of the layer to Soft Light and choose a black soft-edged brush. This set up works like the Burn tool but the changes are made non-destructively. Carefully add some depth to the areas of the image that appear ﬂat because of the harsh, direct, ﬂash lighting.

Step 6 >> The last part of the restoration process is to add a very small amount of texture to the photo to provide detail in the blown-out areas. Add a new blank layer and change the mode to Overlay. Next fill the layer with 50% gray and filter the layer with the Add Noise filter. Make sure that you view the photo at 100% in order to properly gauge the appearance of the texture.

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MAKING BETTER PANORAMAS

Making Better Panoramas

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hen Adobe Photoshop Elements was first released one of the real bonuses of the program was the inclusion of the Photomerge technology. Designed to stitch together a series of overlapping images to form a wide vista print this feature really sets hearts racing amongst those of us with a secret passion for panoramas. There is just something about a long thin photograph that screams special to me. I have often dreamt of owning a camera capable of capturing such beauties, but alas the bank balance always seems to be missing the required amount that would be needed to make such a purchase. And to be honest, the pragmatist in me also has to admit that the comparatively few shots that I would take in this format would not warrant the expense. It was in the midst of such thoughts a couple of years ago that I was first introduced to Photomerge, which has proven to be a solution to my ‘wide vista’ problems that suited both my budget and my infrequent production. The feature combines several overlapping images to form a new wide angle photograph. Once in this form the panorama can be treated like any other Elements document, providing photographers with the ability to create truly stunning and interesting, wide and thin compositions. Elements 6 offers even more possibilities when it comes to creating wide angle photos. Photomerge has been completely revamped for the new release and now not only works more efficiently than before but many images can be stitched automatically with no input needed from the user. Great!

Photomerge in action >> In this example two separate pictures were joined using Photomerge and the result dodged and burnt before being toned using the Hue and Saturation control.

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In version 6 of Photoshop Elements the panorama option of Photomerge has been completely revamped to include several new auto modes as well as the manual method for stitching photos. Now when selecting the Photomerge Panorama option from inside the Editor workspace you are presented with an enhanced dialog that not only contains Browse/Open, Remove and Add Open Files options, which prompt the user to nominate the picture ﬁles that will be used to make up the panorama, but also a list of stitching approaches (on the left of the dialog).

Photomerge dialog >> As well as the source files list (a) that was present in the previous version of Photomerge the dialog now includes five different Layout modes (b). The first four stitch the source images automatically and the fifth option transfers the pictures to the Photomerge workspace where the pictures can be manually placed.

New Photomerge Panorama stitching modes The five different Photomerge Panorama Stitching and Blending or Layout options in Photoshop Elements 6 are: Auto – aligns and blends source files automatically. Perspective – deforms source files according to the perspective of the scene. This is a good option for panoramas containing 2–3 source files. Cylindrical – designed for panoramas that cover a wide angle of view. This option automatically maps the results back to a cylindrical format rather than the bow tie shape that is typical of the Perspective option. Reposition Only – aligns the source files without distorting the pictures. Interactive Layout – transfers the files to the Photomerge workspace (which was the only option available in previous releases of Elements) where individual source pictures can be manually adjusted within the Photomerge composition. This is the only non-auto option. Book resources at: www.adv-elements.com

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Producing your panorama in version 6

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Layout options >> The auto Layout options in the revised Photomerge dialog use different approaches when producing the ďŹ nal panoramic photo. (a) Auto and Perspective. (b) Cylindrical. (c) Reposition Only.

In most circumstances one of the auto options will easily position and stitch your pictures, but there will be occasions where one or more images will not stitch correctly. In these circumstances use the Interactive Layout option. This displays the Photomerge workspace where individual pieces of the panorama can be moved or rotated using the tools from the toolbar on the left-hand side of the dialog. Reposition Only and Perspective options are set using the controls on the right. Photoshop Elements constructs the panorama when the OK button is clicked.

From the Organizer >> From the Organizer, select the ďŹ les you want to use for the stitching process (a), then click Add Open Files in the Photomerge dialog box (b). The source photos will then be listed in the dialog (c).

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MAKING BETTER PANORAMAS

The auto workﬂow If you have selected one of the auto Layout options then Photomerge will take care of the rest. The utility will open all images, combine them as separate layers into a single Photoshop Elements document and then align and blend the source photos. The ﬁnal result will be the completed panorama.

Press Alt+Cancel to reset the dialog and send all images back to Light box. Navigator preview Zoom slider Reposition only option Perspective settings Snap match source images

Select Image, Rotate Image, Set Vanishing Point, Zoom and Move tools

Scroll bar

Layout area and panorama preview

Unmatched pictures

Light box area

Interactive layout >> The main Photomerge Panorama dialog allows you to edit and adjust the layout of your panorama.

The manual workﬂow If you have selected the Interactive Layout option in the Photomerge dialog then the Photomerge dialog will display and you will see the utility load, match and stitch the source images together. If the pictures are stored in raw, or 16-bit form, they must be converted to 8-bit mode before being used in Photomerge. Book resources at: www.adv-elements.com

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You can also start the creation of a panorama from source images that you have multi-selected in the Organizer workspace. Simply Shift-click the thumbnails to include and then choose File > New > Photomerge Panorama and then click the Add Open Files option to insert these photos in the Photomerge Panorama Source Files dialog. If the files are not loaded automatically just click the Add Open Files button. The Browse option allows the user to locate suitable files which are then listed in the Source Files section of the box. Any of the files listed here can be removed if incorrectly added by highlighting the file name and clicking the Remove button. With the Layout mode selected, clicking OK exits the dialog and starts the initial opening and arranging steps in Photomerge Panorama.

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For the most part, Photomerge Panorama will be able to correctly identify overlapping sequential images and will place them side by side in the editing workspace. In some instances, a few of the source ﬁles might not be able to be automatically placed and Elements will display a popup dialog telling you this has occurred. Don’t be concerned about this as a little ﬁne-tuning is needed even with the best panoramic projects, and the pictures that haven’t been placed can be manually moved into position in the main Photomerge Panorama workspace.

Interactive Layout Step-by-Step 1. Select Photomerge Panorama from the File > New menu to start a new panorama. 2. Click the Browse button in the dialog box. 3. Search through the thumbnails of your files to locate the pictures for your panorama. 4. Click the Open button to add files to the Source Files section of the dialog. 5. Choose the Interactive Layout option at the base of the list. 6. Select OK to open the Photomerge Panorama main workspace. Edit the layout of your source images. 7. To change the view of the images use the Move View tool or change the scale and the position of the whole composition with the Navigator. 8. Images can be dragged to and from the Light box to the work area with the Select Image tool. 9. With the Snap to Image function turned on, Photomerge Panorama will match like details of different images when they are dragged over each other. 10. Ticking the Perspective box will instruct Elements to use the first image placed into the layout area as the base for the composition of the whole panorama. Images placed into the composition later will be adjusted to fit the perspective of the base picture. 11. To align the images without distorting the photos to fit select the Reposition Only option. 12. The final panorama file is produced by clicking the OK button. When moving the cursor over the photos in the preview area, hold down the Alt key to see which image is active. This is useful when you are changing the vanishing point of your images. Manual adjustment >> You can move source images (in the Interactive Layout mode) to and from the Light box and Layout areas by clicking and dragging them.

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MAKING BETTER PANORAMAS

Version 5.0 workﬂow

Version 6 workﬂow

Select Photomerge from the File menu (Editor: File > New > Photomerge Panorama ) to start a new panorama or select images in the Photo Browser and choose File > New > Photomerge Panorama. Click the Browse button in the dialog box. If the images are opened already then they will automatically be added to the Photomerge Source Files list.

Starting a new panorama

Search through the thumbnails of your files to locate the pictures for your panorama. Click the Open button to add files to the Source files section of the dialog. Choose the Layout type from the options listed on the left of the dialog. All but the Interactive Layout option stitch the images automatically. Select OK to open the Photomerge dialog box. Edit the layout of your source images.

Select OK to start the Photomerge process. If the Interactive layout option is selected then the Photomerge dialog will open. Edit the layout of your source images. Interactive Layout option All other ‘Auto’ layout selected. options.

To change the view of the images use the Move View tool or change the scale and the position of the whole composition with the Navigator. Images can be dragged to and from the Light box to the work area with the Select Image tool. With the Snap to Image function turned on, Photomerge will match like details of different images when they are dragged over each other.

Editing in Photomerge

Ticking the Use Perspective box will instruct Elements to use the ﬁrst image placed into the layout area as the base for the composition of the whole panorama. Images placed into the composition later will be adjusted to ﬁt the perspective of the base picture. The Cylindrical Mapping option adjusts a perspective corrected image so that it is more rectangular in shape. The Advanced Blending option will try to smooth out uneven exposure or tonal differences between stitched pictures. The effects of Cylindrical Mapping as well as Advanced Blending can be viewed by clicking the Preview button.

The Reposition Only setting overlaps the images without distorting them to ﬁt. This is useful for stitching items such as maps or scanned documents.

The ﬁles are stitched automatically using two steps; aligning and blending. .

If the source images do not quite line up using the automatic ‘Snap to’ setting you can manually drag to reposition or rotate any picture by clicking on the Rotate Image and Select Image tools from the toolbar and then clicking on the image to adjust.

Producing the panorama

The final panorama file is produced by clicking the OK button. In version 5.0, you need to select the Keep as Layers option to get a multi-layered file. Otherwise, the result is a flattened file. All layout options in Elements 6 result in layered documents

Photomerge basics>> For those readers who are new to the feature, use the workflow in the table above to guide you through making your first Photomerge panorama. Once you are confident with creating simple wide vista images using the feature, work through the advanced techniques discussed in the rest of the chapter to refine your panoramic prowess.

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Photomerge Stitching Summary

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The technology behind the ‘Image Stitching’ idea is simple. Shoot a range of images whilst gradually rotating a standard camera so that each photograph overlaps the next. Next, import the pictures into Elements and then Photomerge and proceed to stitch the images together to form a wide, no make that very wide, panoramic picture. From here the photo could be printed, or if the original series of images covered the full 360˚ of the scene with the ﬁrst and last pictures overlapping, a special ‘wrap-around view’, called virtual reality (VR) panorama, could be produced. Programs like Apple’s QuickTime use these 360˚ panoramas and allow the viewer to stand in the middle of the action and spin the image around. It is like you are actually there. Despite the comparative ease with which Photomerge stitches images together the best quality panoramas are made when attention is paid to every step of the capture, stitch and print process. The following techniques go beyond the basic steps needed to create a panorama and will help you produce the best pictures possible with the Photomerge system.

Tips for great panoramas: 1. Panoramas are first and foremost a photographic exercise. Composition, lighting and point of view are all critical, although they have to be dealt with differently to traditional photography. 2. Elements is your friend. Use it to fix problem areas in your finished panorama. 3. If possible use a special panorama head to capture your pictures. If you can’t afford a commercial model search the net for plans of a DIY version for your camera and lens combination. Book resources at: www.adv-elements.com

MAKING BETTER PANORAMAS

When producing panoramas the importance of the photographic step in the process cannot be underestimated. It is here that much of the ﬁnal quality of your VR scene is determined. A few extra minutes taken in the setting up and shooting phases will save a lot of time later sitting in front of the computer screen ﬁxing problems.

10.01 Positioning the camera Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 2.0 | Difﬁculty level – Basic Related techniques – 10.02

Photographers have long prided themselves in their ability to compose the various elements of a scene so that the resultant picture is dynamic, dramatic and balanced. These aims are no less important when creating panoramic images, but the fact that these pictures are constructed of several separate photographs means that a little more thought needs to be given to the positioning of the camera in the scene. For the best results the photographer needs to try and pre-visualize how the ﬁnal picture will appear once the single images are combined and then select the camera’s position.

Rule of thirds >> The same ideas of composition should be followed when making decisions about where to position the camera to capture a panorama sequence of pictures. To ensure that the resultant wide vista picture contains all the drama of a traditional photograph you should ensure that the foreground, mid ground and background details are all present in the ﬁnal stitched picture.

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MAKING BETTER PANORAMAS

Advanced shooting techniques

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One common mistake is to move to the center of the environment, set up the equipment and create a sequence of images with most of the subject detail in the mid or background of the picture. This type of panorama provides a good overview of the whole scene but will have little of the drama and compositional sophistication that a traditional picture with good interaction of foreground, mid ground and background details contains. When deciding on where to position your camera sweep the area whilst looking through the viewﬁnder. Ensure that the arc of proposed images contains objects that are close to the camera, contrasted against those subjects that are further into the frame.

Camera positioning >> Unlike traditional photography the panoramic image-maker must pre-visualize how the stitched picture will appear when considering where to position the camera.

Extend this compositional idea further by intentionally positioning the nearest and most dramatic objects in the scene one-third (or two-thirds) of the way into the sequence of images. This will provide balance to the photograph by positioning this point of focus according to the ‘rule of thirds’ in the ﬁnal panorama.

10.02 Camera support Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Related techniques – 10.01, 10.09

Though not essential for shooting the odd sequence of images, most panoramic professionals insist on using a tripod coupled with a special panoramic head to capture their pictures. The tripod provides a stable and level base for the camera; the panoramic head positions the camera and lens precisely over the pivot point of the tripod and also contains regular click stops to indicate points in the spin to capture a photograph. Each stop is designed to provide optimum coverage for each frame, taking into account the required edge overlap. This set up increases the effectiveness of your stitching software’s ability to accurately blend the edges of your images. Companies like Kaidan (www.kaidan.com), Manfrotto (www.manfrotto. com) and Peace River Studios (www.peaceriverstudios.com) manufacture VR equipment speciﬁcally for particular cameras and lenses. You can purchase a tripod head designed Book resources at: www.adv-elements.com

MAKING BETTER PANORAMAS

Why all this bother with specialized equipment? Photomerge’s main task is to seamlessly blend the edges of overlapping images. This is best achieved when the edge details of the two pictures are as similar as possible. Slight changes in the relationship of the objects in the scene will cause problems when stitching, often resulting in ‘ghosting’ of the objects in the ﬁnal panorama. Now, for Panoramic tripod heads >> Specialized panoramic or VR (virtual reality) the occasional Photomerge tripod heads are perfect for ensuring that the lens’ nodal point is over the pivot point of the tripod. This precision pays dividends at stitching time as user this is not too big a deal Photomerge will produce much better results when the edges of as a little deft work with your sequential images can be exactly matched. (a) Adjustable Manfrotto VR head suitable for a range of cameras. (b) Camera-speciﬁc Kaidan head Elements editing tools and suitable for a single camera body only. the picture is repaired (see technique 5.09), but frequent panorama producers will want to use a technique that produces better results faster. Using a special VR (virtual reality) or panoramic tripod head produces such results by positioning the ‘nodal point’ of the lens over the pivot point of the tripod. Images shot with this set up will have edges that match more evenly, which means that Photomerge can blend these overlapping images more successfully and accurately.

Finding the nodal point If you have a VR head designed specifically for your camera and lens then the hard work is already complete. Simply set up the equipment according to the manufacturer’s instruction and you will be taking ‘nodal point correct’ pictures in no time. If, however, you are using a fully adjustable VR head or you just want to find the nodal point for a specific camera and lens combination you can use the following techniques as a guide. Some camera or lens manufacturers provide details about the nodal points of their products but, on the whole, this type of data is hard to find and it is up to the shooter to determine the nodal point of his or her own equipment. For this the main method is usually referred to as the ‘lamp post’ test and is based on a two-step process. With the camera set up and levelled on a panoramic head use the step-by-step guide to find the nodal point. Book resources at: www.adv-elements.com

MAKING BETTER PANORAMAS

speciﬁcally for your camera or choose a head that can be adjusted to suit any camera.

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If the lens’ nodal point is rotating over the tripod pivot point then the visual distance (gap) will remain the same throughout the movement. If the distance changes then the lens is not positioned correctly and needs to be moved either forwards or backwards to compensate. With a little trial and error you should be able Left to right adjustment >> Front to back adjustment >> The lens and tripod should be viewed Move the camera back and forward to locate the exact nodal from the front and the lens position to find the nodal point of the lens. point for each of your adjusted from left to right until it sits Set camera and tripod up so that vertically above the tripod’s pivot there is a vertical object such as a lenses, cameras and lens point. lamp post or sign very near the zoom points. VR tripod You can check your positioning skills camera and a similar vertical object in by turning the camera 90˚ down (so the distance. The closer the heads, like those made by that the lens faces the tripod pivot) foreground object the more accurate Manfrotto, excel in this and confirming that the pivot point is the results of the test will be. located centrally in the LCD Preview Watching the LCD Preview screen (or area. The fine-tuning screen. This is the easy part. looking through the viewfinder in an SLR camera) rotate the camera and controls and set up compare the distance between the scales enable the user to foreground and background objects. accurately locate and note the position of the nodal points for a variety of lenses and/or cameras. With the tests complete the results should be recorded and used whenever the same camera set up is required again. If you don’t have a special panoramic head try rotating the camera around the lens rather than pivoting around your body. Also, if you are shooting ‘hand-held’ use longer focal lengths rather than wide angle lenses; this will help with stitching later.

Handy Guide to Nodal Point Corrections Use these rules to help you correct nodal point errors: 1. Moving the lens backwards: if rotating the camera away from the foreground object, increases the visual gap, or 2. Moving the lens forwards: if rotating the camera away from the foreground object, decreases the visual gap.

Nodal point errors >> Many stitching errors are the result of source images being shot with the camera and lens not being centered over the nodal point.

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(a) Area of the scene being framed. (b) Ghosted section of previous photo to be lined up with current scene. (c) Current scene in the LCD viewﬁnder.

Other capture methods Camera assisted hand-held Unless you are a committed panoramic shooter you probably won’t have a specialized tripod head handy the next time you want to capture a series of source images. This generally leads to a situation where you attempt to photograph the pictures by simply spinning the camera in your hands. Photomerge in version 6 of Elements will be able to blend pictures captured in this way but the inaccuracy of the photography process may lead to more editing work back at the desktop. To improve the accuracy of hand-held capture several of the bigger camera companies such as Nikon and Canon include a special ‘panorama assist’ shooting mode in their mid to high range compact cameras. The mode ghosts the previous shot in the LCD screen so that you can line up the next picture accurately. This saves you from the expense of purchasing a professional panoramic tripod head whilst still ensuring accurate overlap and positioning of the series of photos. As well as helping with correct alignment and positioning these special shooting modes also lock in focus, aperture, contrast and white balance at the beginning of the shooting sequence. This action helps to provide source photos that are more consistent and therefore more easily blended. Book resources at: www.adv-elements.com

MAKING BETTER PANORAMAS

Camera assisted hand-held >> Some mid to high range compact digital cameras now include a panorama assist mode that ghosts the previously taken photo so that the next image in the sequence can be easily aligned. This approach helps ensure that sequential source photos are correctly spaced and positioned.

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10.03 Exposure Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Related techniques – 2.03, 10.11

As the lighting conditions can change dramatically whilst capturing the sequence of images you need to make up a panorama, it is important that the camera’s exposure be set manually. Leaving the camera set to auto exposure (Program, Aperture priority or Shutter speed priority) will result in changes in brightness of sequential images, especially if you are capturing pictures throughout a full 360˚ sweep of the scene.

Manual exposure >> Set your camera to manual exposure to ensure consistency across the sequence of images.

Take readings from both the shadow and highlight areas in several sections of the environment before selecting an average exposure setting, or one that preserves important highlight or shadow detail. Lock this shutter speed and aperture combination into your camera and use the same settings for all the source images. If the scene contains massive changes in brightness this will mean that some parts of the picture are rendered pure white or pure black (with no details); so you may want to consider using the steps in technique 9.11 as a way of capturing more details in these areas. To ensure that you have sufﬁcient picture data to complete the technique capture two or three complete sequences with varying exposures. The exposure for one sequence should be adjusted to record highlights; one for shadows and if required a third can be used to capture midtones. Use your camera’s exposure bracketing system to shoot the over-, mid and underexposures automatically.

Average exposure>> To help ensure that your exposure setting is suitable for all the source images take several readings from all over the scene and then change your camera to the average of these results.

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10.04 Focus and zoom Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic Related techniques – 10.05

A similar problem of differences from image to image can occur when your camera is set to auto-focus. Objects at different distances from the camera in the scene will cause the focus to change from shot to shot, altering the appearance of overlapping images and creating an uneven look in your ﬁnal panorama. Switching to manual focus will mean that you can keep the point of focus consistent throughout the capture of the source images. In addition to general focus changes, the zoom setting (digital or optical) for the camera should not be changed throughout the shooting sequence either.

Manual focus>> Switch your camera to manual focus and then set the distance to encompass the subjects in the scene taking into account ‘depth of ﬁeld’ effects as well.

When setting your focus also consider the depth of ﬁeld that you desire for the image.

10.05 Depth of ﬁeld Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Related techniques – 10.04

Despite the fact that cameras can only focus on one part of a scene at a time (focus point) most of us have seen wonderful landscape images that look sharp from the nearest point in the picture right through to the horizon. Employing a contrasting technique, many contemporary food books are filled with highly polished pictures where little of the shot is sharp. I’m sure that you have seen images where only one tiny basil leaf is defined whilst the rest of the food and indeed the plate is out of focus. Clearly focusing doesn’t tell the whole sharpness story. This phenomenon of changing degrees of sharpness in a picture is referred to as the ‘depth of field of acceptable sharpness’ or ‘DOF’. When shooting panoramas it is important to know the factors that control this range of sharpness and, more importantly, how to control them.

Focus and DOF >> Ensure that you consider focus and depth of ﬁeld at the same time, as both these variables will affect the subject sharpness in your source images. (a) Sharp foreground detail. (b) Background unsharp due to shallow DOF.

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DOF is controlled by three distinct photographic variables: Aperture – Changing the aperture, or F-Stop number, is the most popular technique for controlling depth of field. When a high aperture number like F32 or F22 is used, the picture will contain a large depth of field – this means that objects in the foreground, mid ground and background of the image all appear sharp. If, instead, a low aperture number is selected (F1.8 or F2), then only a small section of the image will appear focused, producing a shallow DOF effect. Focal length – The focal length of the lens that you use to photograph also determines the extent of the depth of field in an image. The longer the focal length (more than 50 mm on a 35 mm camera) the smaller the depth of field will be, the shorter the focal length (less than 50 mm on a 35 mm camera) the greater DOF effect. Distance from the subject – The distance the camera is from the subject is also an important depth of field factor. Close-up, or macro photos, have very shallow DOF, whereas landscape shots where the main parts of the image are further away have a greater DOF. In other words the closer you are to the subject, despite the aperture or lens you select, the shallower the DOF will be in the photographs you take.

Aperture and DOF >> Most photographers turn to their aperture control first when they want to change the depth of field of sharpness in their images. (a) A small aperture number produces pictures with a shallow depth of field. (b) Selecting a large aperture number produces a larger depth of field.

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Use the table below as a quick guide for setting up your camera for either shallow or large depth of ﬁeld effects.

Depth of ﬁeld effect required

Aperture number

Focal length

Subject to camera distance

Shallow

Low (e.g. F 2.0, 2.8)

Longer than standard (e.g. 120 mm)

Large

High (e.g. F 22, 32)

Wider than standard (e.g. 24 mm)

Distant

10.06 White balance Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic Related techniques – 2.07

As we have already seen in Chapter 2 the White Balance feature assesses not the amount of light entering the camera, but the color, in order to automatically rid your images of color casts that result from mixed light sources. Leaving this feature set to ‘auto’ can mean drastic color shifts from one frame to the next as the camera attempts to produce the most neutral result. Switching to manual will produce images that are more consistent but you must assess the scene carefully to ensure that you base your white balance settings on the most prominent light source in the environment. For instance if you are photographing an indoors scene that combines both daylight through a window and domestic lights hanging from the ceiling then the Auto White Balance feature will alter the color of the captured images throughout the sequence. Switching to manual will allow you to set the balance to match either of the two light sources or even a combination of both using the preset feature (see technique 2.07).

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As most panoramic pictures require sharp details in the foreground, mid and background you should practise setting up your camera for the largest depth of ﬁeld possible. This means selecting a high aperture number, wide angle lenses and increased camera-to-subject distances wherever possible. It is also good practice to take a couple of test shots of sections of the scene and review these on the LCD monitor on the back of the camera (using the magniﬁcation option) to ensure that you have sharpness in the areas of the picture that you desire.

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White balance errors >> Shooting with your camera set to the auto white balance setting can cause inconsistent color between sequential source images. Switching your camera to a mode that suits the dominant light source for the scene will produce more even results.

10.07 Timing Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Basic Related techniques – 10.09

Though not strictly a photographic technique, timing is very important when photographing your sequence of images. Objects that move in the frame or are positioned at the edges of one picture and not the next cause stitching problems when Photomerge tries to blend the edges. The best approach to solving this problem is to wait until the subjects have moved through the frame before capturing the Timing errors >> Try to image. A similar solution can be used when time your exposures so that photographing in changing lighting conditions. you limit subject changes at the edges of your pictures. For instance, if you start to capture a sequence of images in full sunshine only to find that halfway through a rogue cloud shadows the scene, then it is best to wait until the sun is shining again before recommencing the capture. Even though I present some editing techniques later in the chapter that will help you rectify these types of problems the best solution is always to try and capture the most accurate and error-free sequence of source images. In this situation ‘prevention is better than cure’ and definitely more time efficient as well. Book resources at: www.adv-elements.com

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Basic

As you are capturing, ensure that the edges of sequential images are overlapping by between 15 and 40%. The exact number of images needed to complete the sweep of the vista or the full circle will depend on the angle of view of the lens as well as the amount of overlap that you have used. A quick way of calculating the pictures needed for 30% overlap is to count the number of images required to complete a full 360˚ rotation with no overlap and then multiply this value by 3. Or, alternatively, you can use the recommendations detailed in the table below as a starting point for the number of overlap portrait images required to construct a 360˚ panorama. Click-stop heads >> To evenly space sequential image capture points

Professional VR heads ensure and ensure consistent overlap some companies like Kaidan (www. kaidan.com) produce panorama tripod heads with a built-in ‘click-stop’ overlap consistency by placing system. The number of stop points is dependent on the angle of view ‘click-stops’ at regular points of the lens used to capture the source pictures. (a) Rotating the camera and stopping to capture picture. on the circumference of the (b) A variety of click-stop disks designed for use with different camera lenses or zoom settings. head. On many models this is a variable feature that allows Number of images the photographer to change the Focal length in mm required for 360˚ (35 mm equivalent) interval to suit different lenses panorama 14 12 and/or overlapping amounts. Those on a more 18 12 modest budget can mark regular intervals on 20 12 their tripod head using a protractor or use the grid 24 18 within the camera’s viewﬁnder as a guide.

Some cameras now provide a special Panorama mode that ghosts the previous shot in the LCD screen so that you can line up or overlap the next picture accurately.

Number of images for 360˚ >> Use the table above to calculate the number of overlapping pictures you will need to capture to create a 360˚ panorama.

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10.08 Ensuring consistent overlap

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10.09 Dealing with the moving subject Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 10.07 | Tools used – Clone Stamp, Selection tools | Menus used – Filter, Edit

One of the banes of the panoramic photographer’s life is the subject that moves during a shooting sequence. These may be people, cars or even clouds but no matter how good your nodal point selection or stitching is, these moving subjects cause very noticeable errors in panoramas. The stitched picture often features half a person, or object, as a result of Photomerge trying to match the edges of dissimilar pictures. These problems can be fixed in one of two ways – either remove or repair the problem area. (a) Remove – To remove the problem you can use the Clone Stamp tool to sample background parts of the scene and paint over stitching errors. The success of this type of work is largely based on how well you can select suitable areas to sample. Color, texture and tone need to be matched carefully if the changes are to be disguised in the final panorama. Be careful though as repeated application of the Clone Stamp tool can cause noticeable patterns or smoothing in the final picture. These problems can be disguised by adding a little noise (Filter>Noise>Add Noise) to the image. (b) Repair – In some instances it is easier to select, copy and paste the damaged subject from the original source image into the flattened panorama picture. This

Step 1 >> Using the Clone Stamp tool (or Healing Brush tool), sample the background around the moving subject and paint over the offending area.

Step 2 >> As repeated stamping can produce a noticeable smoothing of the treated area, disguise the effects by adding a little texture back to the picture with the Add Noise ﬁlter.

Step 1 >> Using one of the selection tools, outline the problem area in the original source image.

Step 2 >> Feather the selection by a couple of pixels. This will help blend the selected area when it is added to the panorama.

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approach covers the half blended subject with one that is still complete. If you have used the Perspective option in Photomerge or have resized the panorama then you will need to adjust the pasted subject to ﬁt the background. Use the Elements transformation tools such as Rotate, Perspective and Scale to help with this task.

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Step 3 >> Copy the selected area (Edit > Copy), click onto the panorama document and paste (Edit > Paste) the selection. Use the Move tool to move the copy into position.

Step 4 >> Use the Eraser tool set to a soft edge and low opacity to help blend the edges of the pasted selection into the background.

Adjusting the opacity of the pasted subject while you are transforming will help you match its details with those beneath. When the editing is complete, then the opacity is changed back to 100%. Finishing touches can be applied to the edges of the pasted images to ensure precise blending with the background with the Eraser tool. Apply a slight feather (Select>Feather) to the selection before copying and pasting. This will help disguise the sharp crisp edge that is the tell-tale sign of so many repair jobs. A setting of 1 or 2 pixels at the most will be sufﬁcient.

Ghosted image repair in Photoshop Element 6 >> Despite the increased power and effectiveness of the Photoshop Elements 6 version of Photomerge, you may still ﬁnd some ghosting of areas where the subject has moved or the details in areas of overlap has changed. Thankfully the revamped Photomerge feature now has more editing abilities and provides users with two different ways of correcting these problems. This example displays the problem well. The rider and cycle are half seen because they happened to be captured on the edge of one source ﬁle and then don’t appear in the next.

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Erase then stitch >> One way of correcting this situation is to erase the problem parts from the overlapping portions of the source photos before stitching them.

10.10 Advanced panorama editing in Photoshop Elements 6 Suitable for Elements – 6 | Difﬁculty level – advanced Related techniques – 10.09 | Tools used – Clone Stamp, Selection tools | Menus used – Filter, Edit

Though the new version of Photomerge does an admirable job of blending overlapping photos together, as we have seen in the previous technique there may be some areas in the finished panorama that have ghosted details or parts of a subject missing. Thankfully the Photomerge file preserves the original source images in separate layers, distorts the photos and then applies blending via a series of masks. Some of the ghosting problems can be corrected by editing these layer masks directly. Others, can be fixed by erasing the problem areas first before stitching.

Edit the blend masks >> Another solution is to edit the blend masks that are attached to the image layers that make up the panorama.

For example, the front wheel of the bike in the center of the picture is missing. To paint this detail back in, locate the bike layer and then hide the layer beneath it (click on the eye icon in the layers palette). This approach works best if the source images have been captured with ﬁxed exposure and white balance settings. When source images vary widely in brightness or color, balance these factors ﬁrst, before stitching and mask editing. Next click onto the bike layer mask. Select the brush tool and set the foreground color to white (white reveals the image/black hides the image). Paint onto the image to reveal the wheel. Now show the under layer. Notice that the wheel has now obscured the parking sign and the girl just behind it. Switch the foreground color to black and with the bike layer mask still selected, paint back in the parking sign and the girl. In reality, painting with black means that you are hiding the parts of the wheel that are obscuring the girl and sign. Book resources at: www.adv-elements.com

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If this mask editing solution still doesn’t provide good results, try erasing the problem areas such as the gent behind the bicycle and the girl in front of it, before sending the files to Photomerge. Doing so will force Photomerge to use the pixel information in the other source image to fill the erased area. Keep in mind that for this technique to work, the erased areas must be transparent. So the first step is to convert the background layer to a standard image layer, before using the Eraser tool to remove the unwanted areas. It is important that you only perform this editing on copies of the original files and only on the parts of the image that overlap the next source file.

Step 1 >> Start by locating the speciﬁc layer containing the detail that is missing. It can be helpful to click on the eye icon to turn layers on an off when searching for a speciﬁc source photo.

Step 2 >> Now select the mask for the layer and choose a soft-edged white brush. Paint onto the image to reveal the masked or missing areas. Change the size and shape of the brush tip to paint in smaller details.

Step 3 >> If you accidently paint too much detail back, switch to a black foreground colour and paint over the image again to hide the detail.

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Step 1 >> Perform a text stitch so that you can identify problem areas in the panorama. Next, locate the subject that is causing the ghosting problem in the source images. Identify the areas on the source image that are overlapping and common to both pictures.

Step 2 >> Double click on Background layer of one of the source photos to display the New Layer dialog. Add in name for the Layer and click OK.

Misalignment >> When capturing source images by hand, or using a standard tripod, slight changes in perspective and position result in Photomerge having difďŹ culty in matching the edges of sequential pictures. The misaligned picture parts need to be edited and rebuilt using a combination of the approaches outlined in techniques 9.09 and 9.10.

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Step 3 >> Finally erase the problem areas in the source images before using Photomerge to stitch the photos. With these picture parts no longer present Photomerge blends detail from other photos to ďŹ ll the gap. Be sure to only erase detail that is contained in the overlapping sections of the source photos.

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 10.09 | Tools used – Clone Stamp

Shooting your source sequence by hand may be your only option when you have forgotten your tripod or you are purposely travelling light, but the inaccuracies of this method can produce panoramas with serious problems. One such problem is ghosting or misalignment. It is a phenomenon that occurs when edge elements of consecutive source pictures don’t quite match. When Photomerge tries to merge the unmatched areas of one frame into another the mismatched sections are left as semi-transparent, ghosted or misaligned. The affected areas can be repaired using the clone stamp techniques but by far the best solution, and certainly the most time, efﬁcient one, is to ensure that the camera and lens nodal points are situated over the pivot of the tripod at the time of capture. A little extra time spent in setting up will save many minutes editing later.

Too much contrast >> When the contrast range of a scene exceeds the abilities of the camera’s sensors, some of the details at the highlight and shadow end of the spectrum are lost. These details are converted to pure white and black. Panoramic pictures that encompass a wide angle of view often suffer from this problem. (a) Range of brightness and detail in the scene. (b) Brightness range of the scene is reduced (clipped) as it is recorded by the sensor. (c) Reduced range of detail and brightness as it is stored in the digital ﬁle.

10.12 Coping with extremes of brightness Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web images 911-1, 911-2, 911-3 | Related techniques – 10.03 | Menus used – Layer

Digital cameras have a limit to the range of brightness that they can capture before details in shadow and highlight areas are lost. For most shooting scenarios the abilities of the average sensor or ﬁlm is up to the job but in certain extreme circumstances, such as when a panorama encompasses both a view of a sunlit outdoor scene as well as a dimly lit interior, the range of tones is beyond the abilities of these devices. Book resources at: www.adv-elements.com

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10.11 Fixing misaligned picture parts

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Rather than accept blown highlights or clogged shadows, the clever panorama photographer can combine several exposures of the same scene to extend the range of brightnesses depicted in the image. The process involves shooting three (or two for less brightness difference) images of the one scene using different exposures. Each exposure is designed to capture either highlight, midtone or shadow details. The difference in exposure should be great enough to encompass the contrast in the scene. These exposures can be captured automatically using the exposure bracketing technology that can now be found in most medium to high range digital cameras. Combining the three images: With the three separate image documents open in Elements, hold down the Shift key and drag the background layers of two of the images onto the canvas of the third. Holding down the Shift key will make sure that the new layers are kept in register with the existing background. With the Layers palette open, rename and rearrange the layers so that they are ordered top to bottom – underexposed, normal and overexposed.

Capturing all the detail >> With your camera ﬁxed to a tripod, shoot three separate images adjusting the exposure settings to: (a) two stops over indicated exposure, (b) indicated exposure and (c) two stops under the settings indicated by your camera.

Changing the overexposed layer: To blend the overexposed image, ﬁrstly turn off the topmost layer (underexposed), then change the normal layer’s blending mode to Screen. Now select the overexposed layer and choose the Levels function from the Enhance>Adjust Brightness/ Contrast menu. Drag the white Output slider towards the middle of the control, watching the results preview on screen. When the shadow details are visible and you are satisﬁed with the effect, click OK.

Changing the underexposed layer: To blend the underexposed image, select its layer and change the blend mode to Multiply. With the layer still selected choose the Levels function and drag the shadow Output slider towards the center of the dialog. When the highlight and shadow details are visible and you are satisﬁed with the effect click OK. Save a layered version of this image as the original and a ﬂattened (no layers) copy which can be imported into Photomerge as a source image for your stitch.

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Step 1 >> Open the images with different exposures. Tile the documents so that all pictures can be seen (Window > Images > Tile).

Step 2 >> Drag two of the pictures onto the third with the Move tool whilst holding down the Shift key.

Step 3 >> Arrange the layers so that from top to bottom they are positioned underexposed, normal and overexposed. Name the layers.

Step 4 >> Hide the top layer by clicking the Eye icon. Change the normal layerâ&#x20AC;&#x2122;s mode to Screen. With the overexposed layer selected, choose the Levels function. Drag the white point Output slider towards the center of the dialog.

Step 5 >> Change the mode of the underexposed layer to Multiply. Select the Levels feature and move the black point Output slider towards the center of the dialog.

Step 6 >> To ďŹ ne-tune the process, apply a Levels adjustment layer (Layer > New Adjustment Layer > Levels) to the stack, being sure not to clip newly created highlight and shadows detail.

This technique can be applied nondestructively to the layered image by using Levels adjustment layers to change the tonal values of the underand overexposed layers. To ensure that the levels adjustment is only applied to a single layer start by inserting the adjustment layer above the layer to be changed. Next make the tonal alterations and then group the adjustment layer with the changed layer using the Editor: Layer > Group with Previous command.

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10.13 Creating artiﬁcially increased DOF Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 10.06 | Tools used – Selection tools, Eraser | Menus used – Edit

In some environments it may not be possible to gain enough depth of ﬁeld to extend the sharpness from the foreground details into the background of the picture. In these circumstances you can still simulate this large depth of ﬁeld by shooting two different sets of source images – one with focus set for the foreground objects and a second set for the background details. Later, at the desktop, the sharp detail from the foreground can be cut out and pasted over the background pictures. As we have seen with other cut and paste techniques, a little feather applied to the selection before cutting helps to ensure a convincing result at the pasting stage.

Step 1 >> Open the two source ﬁles. Carefully select the foreground detail using your favorite selection tool. Feather the selection by 1 pixel.

Artiﬁcially increasing depth of ﬁeld >> Increase the amount of your panorama that appears sharp by cutting and pasting between two separately focused and shot sequences. (a) Sharp details. (b) Unsharp details.

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Step 2 >> Copy and paste the selection onto the background, using the Move tool to position. Clean up with the Eraser tool if needed.

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 10.03, 10.14 | Tools used – Eyedropper | Menus used – Image, Window

Changes in density from one source image to the next can occur for a variety of reasons – the sun went behind a cloud during your capture sequence or the camera was left on auto exposure and changed settings to suit the ‘through the lens’ reading. The images that result vary in density. When these images are blended the change in tone can be visible at the stitch point in large areas of similar color and detail such as sky or road surface. This is less of an issue with the current release of Photomerge as it handles these sort of changes more effectively than previous releases, but if you are still having problems then here are a couple of correction options. Auto Fixes – In Elements 5.0 Photomerge contains an ‘Advanced Blending’ feature that tries to account for slight changes in overall density from one frame to the next by extending the graduation between one source image and the next. This ‘auto’ technique will disguise small variations in exposure and generally produce a balanced panorama, but for situations with large density discrepancies the source images may need to be edited individually.

Advanced Blending >> In the last release the Advanced Blending option needed to be selected to disguise slight differences in contrast, brightness and color. In version 6 this option is used automatically.

Manual Fixes – The simple approach to balancing the density of your source images is to open two or more of the pictures and visually adjust contrast and brightness using tools like the Levels feature. For a more precise approach it would be useful to know the exact values of the same section of two overlapping images. The Info palette in Elements displays the RGB values of a speciﬁc area in a picture. When used in conjunction with the Levels feature it is also possible to

Info palette >> With the aid of the Info palette you can easily determine differences in color, brightness and contrast between sequential source images.

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10.14 Correcting exposure differences

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display the values before and after density changes. Knowing the RGB values of the ﬁrst image, you can alter the values in the second to match, thus ensuring a seamless stitch. This process is time-consuming and is a ‘work around’ for what is essentially a ﬂaw in your shooting technique. So if your source images continually need this level of adjustment revisit the process you use to capture your pictures and ensure that: t :PV IBWF ZPVS camera set to manual exposure, and t :PV BSF DBQUVSJOH BMM UIF TPVSDF JNBHFT under the same lighting conditions.

Step 1 >> Open a picture with good brightness and contrast as well as the picture that needs adjusting. At the same time display the Info palette (Window > Info).

Density correction >> Fixing brightness or contrast differences before stitching will produce a far better result than expecting Photomerge to hide these problems. (a) Before. (b) After.

Step 2 >> Click onto several matching points on both pictures taking note of the red (R), green (G), blue (B) and grayscale (K) settings for each.

Step 3 >> Make contrast and brightness adjustments to the problem image checking the changed readings in the Info palette as you go until both pictures display similar values.

10.15 Adjusting for changes in color balance Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 10.13 | Tools used – Eyedropper tool | Menus used – Image, Window

Slight changes in the color balance of sequentially shot images can result from using the Auto White Balance feature to rid images of casts resulting from mixed light sources. As the color of each frame is assessed and corrected independently, changing subject matter can cause such color shifts. More uniform results are obtained if the white balance is set based on the primary light source in the scene and then kept constant for the rest of the shooting sequence. Book resources at: www.adv-elements.com

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Ensuring consistency >> Using the Info palette in conjunction with both the Levels and Color Variations features will enable you to balance color, brightness and contrast of sequential images. (a) Info palette. (b) Levels feature. (c) Color Variations.

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For slight discrepancies in color, tools such as the Auto Color Correction (Enhance>Auto Color Correction) feature will be able to automatically even out some of the changes, but for big changes in color a frame-byframe correction technique similar to the one outlined for exposure differences can be used. This time instead of using Levels to make your adjustments you can employ a color control feature such as Color Variations (Enhance>Color Variations), to match different color values in sequential images.

10.16 Vertical panoramas Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 Difﬁculty level – Basic | Related techniques – 10.16

For most of the time you will probably use Photomerge to make horizontal panoramas of wide vistas, but occasionally you may Vertical stitching >> Don’t restrict yourself to only come across a situation where you can make stitching horizontal pictures. Why not also use Photomerge to stitch those very tall shots that you just use of the stitching technology to create can’t capture in a single photograph? vertical panoramas rather than horizontal ones. When capturing the vertical source images be sure to follow the same guidelines used for standard panoramas, i.e. check exposure, focus, white balance, focal length and shooting position.

Step 1 >> Add your pictures to Photomerge as you would for a horizontal composition.

Step 2 >> For most panoramas, Photomerge will be able to stitch the photos effectively. If this isn’t the case with your vertical panorama then go to the next step.

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Step 3 >> Restart the Photomerge process and choose the Interactive Layout option so that you can manually drag the unplaced pictures into position.

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10.17 High-resolution mosaics Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Related techniques – 10.15

Another not so familiar use of the Photomerge technology is the production of high-resolution picture mosaics. In this application, the photographer captures a series of overlapping images, both vertically and horizontally, of the same scene. These images are then stitched together to form a photograph that is both wider and taller and contains more pixels than your camera would normally be capable of. This approach is particularly suitable for those scenes where you just don’t have a lens wide enough to encompass the whole vista, or situations where detail is critical. The higher resolution of the final stitched result also provides the extra digital information necessary to print big pictures (A3, A3+ or even A2) with little or no loss of quality or detail. Unlike when you are capturing the source pictures for panorama production, high-resolution stitches require pictures that overlap on all sides that are to be stitched. This means that at the time of shooting you need to pay particular attention to edges of the frame and ensure a 20 to 40% consistent overlap. Pro’s Tip: If your camera contains a grid feature that can be displayed in the viewfinder, position the grid line closest to the edge of the frame on a subject that will be present in the overlap. Next turn the camera and make sure that the same subject is present in the frame on the grid line at the opposite side of the viewfinder. Mosaic stitches >> Create very high-resolution wide angle pictures that contain stunning detail and quality by capturing a series of overlapping pictures and stitching them with the Photomerge feature. (a) Mosaic source images that overlap on all stitching sides. (b) Add the files to the Photomerge dialog and then select the Auto Layout option in Photomerge. (c) Use the Cropping tool to trim away the ragged edges that are the result of the perspective deformation. (d) The final mosaic picture is higher resolution and covers more of the scene than would have been possible with a single camera shot.

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10.18 Panoramic printing Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Menus used – Edit

Given the format of most wide vista photographs, printing on standard inkjet paper will result in much of the printing surface being left unused. Printer companies like Epson now produce pre-cut panoramic paper in a photographic ﬁnish. These sheets are convenient to use and their proportions are stored as one of the default paper settings on all the latest model printers. Another approach is to use the roll paper format that is now available as an option on several different models. This option provides the ability to print both long, thin and standard picture formats on the same paper, reducing the need for multiple paper types. Using these special roll holders the printer can output different image formats back to back and edge to edge, providing cutting guidelines between pictures if needed. For those of you with just the occasional need to print panoramas, another approach is to cut standard printing papers lengthways. This action produces very usable wide thin stock that is half the usable dimensions of the standard sheet. See the table below for the different paper types and the panorama print sizes that can be output on each. With the paper organized it is now necessary to set up the printer for the new sizes. If you are using the pre-cut sheet or roll paper, then these options should be available in the drop-down paper menu of the latest printer driver for your machine. If the options are not present, or you are using panorama paper that you have cut yourself, then you will need to set up a custom paper size to suit your needs. On Epson machines you can do this by opening the printer driver, selecting the Paper tab and choosing the User Deﬁned option. The dialog that is displayed will allow you to create, label and save your own paper size. These newly created paper size options will then be available for you to choose when you next open the Elements print dialog. More printing techniques can be found in Chapter 10 of the book, including instructions for making a panorama-friendly Picture Package.

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Basic Paper Type

Possible Panorama Print Size

105 x 287 mm

148 x 420 mm

210 x 594 mm

A4 Roll

210 mm x 10 m

100 mm wide Roll

100 mm x 8 m

Panoramic Paper

210 x 594 mm

(1/2 full sheet)

(pre-cut sheet)

MAKING BETTER PANORAMAS

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Step 1 >> Select the Paper tab from the Epson printer driver and choose User Deﬁned from the drop-down Paper Size menu. Input the paper size in the width and height boxes and then save the settings. Click OK.

Step 2 >> Once saved the new paper sizes can be found as extra options under the Paper Size menu.

Step 3 >> When it comes time to print a panoramic picture you can now select one of your pre-deﬁned paper sizes and Elements will preview the photograph positioned against the background of the new paper format.

Panoramic print options >> Because of the wide thin nature of most panoramic photographs, printer companies like Epson have developed special settings for their hardware as well as a range of paper sizes to accommodate the unusual format. (a) Roll paper can be customized to suit both standard print formats as well as wide panoramic prints. (b) Special pre-cut papers in ‘photo print’ ﬁnishes are also available. (c) Panoramas can be printed on standard paper sizes, but much of the sheet is left blank.

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10.19 Spinning panorama movies Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate | Resources – Web links

Many wide vista photographers choose to present their work in an interactive spinning format rather than as a print. This way of looking at images is often called Virtual Reality (VR) and is used extensively on the internet to give viewers the feeling that they are actually standing in the environment they are seeing on screen. Holiday destinations and real estate previews come to life via this technology. When the VR panorama opens you can navigate around the scene looking left and right with nothing more than simple mouse movements. Although the ability to output your ﬂat panoramic pictures in a VR format is not an integrated function of the Elements Photomerge feature there are several options for those who want to get their wide vista pictures spinning.

Moving panoramas >> Photomerge users can take their panorama pictures beyond the static print by converting their stitched images to spinning vistas that can be navigated on screen and distributed via the web. For a complete 360˚ spin overlapping images need to be captured for the whole scene.

Converting ﬂat pictures to spinning movies The process of getting your ﬂat Photomerge panoramas to spin on screen involves two essential steps:

Apple QuickTime Viewer >> The QuickTime plug-in is the most well known of all the VR viewers.

t $POWFSUJOH UIF QBOP QIPUPHSBQI UP B GPSNBU UIBU JT TVJUBCMF UP CF displayed, and t -JOLJOH UIF DPOWFSUFE m MF UP B WJFXFS PS QSFTFOUBUJPO VUJMJUZ which actually controls the on-screen display. The standard QuickTime web plug-in, that can be freely downloaded from Apple and installed, is the most well known of all VR viewers. Along with being able to show movies, play sound and display a variety of still picture ﬁles the plug-in can also show panoramic movies that are saved in the QuickTime movie format. The viewer includes buttons to zoom in (‘+’) and zoom out (‘-’) of the panorama and the viewer navigates the scene by click-dragging the cursor side to side or up and down in the display window.

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MAKING BETTER PANORAMAS

There is also a range of non-QuickTime viewers and conversion utilities. Most of these use a small Java script-based program to provide similar display features to those found with QTVR. Again, most utilities used for creating these non-QuickTime movies are included with stitching features in a fuller program, but the options detailed below use stand-alone software to create spinable movies from basic JPEG panorama picture ﬁles.

OPTION 1: Converting Photomerge output to the QuickTime movie format Elements users can convert their Photomerge output to Apple’s QuickTime VR movie format using a free utility available from the Apple website. Both Windows and Macintosh versions of the software are available. Simply save the stitched image as a Macintosh PICT ﬁle, rotate it to the left (so that it is tall and thin) and then convert the picture using the Make Panorama utility. The resultant ﬁle can be viewed (and navigated) with any QuickTime player and has the added bonus of being able to be uploaded to the web and viewed on-line.

Step 1 >> Rotate the completed Photo-merge ﬁle to the Left (Image > Rotate > 90º Left before saving as a PICT ﬁle (File > Save As).

Step 2 >> Start the VRMakePano utility and open the PICT ﬁle via the Test > Make Movie menu. Follow the on- screen prompts and specify image, tile and movie ﬁles in the dialogs provided.

Free convert to QuickTime VR utilities: Go to http://developer. apple.com/samplecode/ VRMakePano/index.html and download the VRMakePano utility.

Step 3 >> In a new dialog you will be prompted to export the results to a movie ﬁle. Here you can adjust the quality and size of the ﬁnal panorama using the options on this screen.

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MAKING BETTER PANORAMAS

There are many commercial, shareware and even freeware utilities that will help you convert your flat Photomerge Panorama files to the QuickTime VR movie format (QTVR). Most of the commercial programs contain their own stitching utilities (like Photomerge) and the Conversion to VR movies feature is just one of the many output options offered. As Photomerge users don’t need the stitching component of these programs the QuickTime utilities included here and detailed below only handle the conversion process. Once converted to the QTVR format the files can be viewed using the QuickTime plug-in.

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OPTION 2: Using Pano2Exe Windows users can make similar spinning panoramas to those destined for displaying in a QuickTime viewer using a small economical utility called Pano2Exe (http://www.change7.com/ pano2exe/). The program converts JPEG output from Photomerge to a self-contained EXE ﬁle, which is a single easily distributable ﬁle that contains the image itself as well as a built-in viewer.

Step 1 >> Save completed Photomerge ﬁle as a JPEG ﬁle (File>Save As or File> Save for Web).

Step 2 >> Open picture into Pano2Exe program (File > Open Panoramic Image) and set width and height of navigation window.

Step 3 >> Save the spinning panorama as an executable ﬁle (.EXE) ready for distribution.

Pano2Exe >> The Pano2Exe utility provides a convenient and economical way to convert your Photomerge vistas to distributable navigable panoramas. See www.change7.com for details.

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MAKING BETTER PANORAMAS

For those readers with a good understanding of how to create web pages you can also add your Photomerge panoramas to your website with the aid of a small piece of viewer code. In most cases this code is supplied in the form of a Java Applet. Civic-minded developers like Karl Maloszek at www.panorado.com supply their own applet for free when used on private websites. The web panorama page is built of three components: t 5IF )5.- QBHF t 5IF QBOPSBNB JNBHF m MF TBWFE BT B +1&( BOE t 5IF WJFXFS BQQMFU These three ďŹ les must be present in order for the page to display properly. To create a panorama page you will need to download the Panorado applet and save the Java archive (Panorado.jar) to your destination folder. Next create a blank web page and insert the HTML code, that controls the viewer and links your panorama photo to the viewer, into the code of the page. To make this process a little easier, for example HTML code can be cut and pasted from the Panorado website directly into your page.

Java applet >> www.Panorado.com provides Java Applet viewer that can be used free of charge for non-commercial websites.

The viewer can be positioned in a scalable pop-up window which also contains HTML-based control buttons or in the middle of a document page (normally in a smaller rectangle or frame). Creating web pages using a Java-based viewer is not as automated as the other two approaches detailed previously. The process requires that the user understands the basics of HTML coding and how to correctly set parameters in that code.

www.panorado.com >> Karl Maloszek at Panorado produces a non-QuickTime viewer that can be used to create interactive panorama web pages. Along with his applet and viewer software his site also contains a variety of example panoramas that display how this technology works. Images courtesy of www.panorado.com ÂŠ 2005.

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MAKING BETTER PANORAMAS

OPTION 3: Making web pages with a Java Applet-based viewer

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10.20 Panorama workflow If the ‘proof of the pudding is in the eating’ then the success of all your careful shooting, stitching and editing work is in the viewing (of the final panorama). Logical planning and execution is the key to high quality wide vista photographs. In this chapter I have introduced a range of techniques that will help you make great panoramas, but remembering the techniques and order that they should be used can be difficult. Use the steps in the workflow table (aside) to help you sequence your setting up, shooting, stitching, editing and producing activities.

Recommended Panoramic Workﬂow Choose camera position to ensure good foreground, mid ground and background distribution of subject

Setting up

Sweep the scene looking through the viewﬁnder to position points of focus using the rule of thirds layout Mount camera on VR tripod head Use camera hand-held

Adjust camera position to ensure nodal point pivot Adjust ‘click-stop’ setting to suit overlap and lens

Select Manual Exposure mode

Select Manual Exposure mode Meter for both highlight and shadow detail Turn off Auto White Balance feature

Turn off Auto White Balance feature

Select the White Balance setting that best suits the dominant light source in the scene Select Manual Focus mode

Shooting

Select Manual Focus mode

Preview depth of ﬁeld to ensure foreground and background objects are sharp

Don’t alter zoom settings

Shoot source sequence ensuring 20–50% overlap

Stitching and editing

Download and stitch source images using Photomerge

–

Produce panorama Image quality Book resources at: www.adv-elements.com

Shoot 2 or 3 source sequences ensuring 20–50% overlap with different exposure settings for highlights, shadows and midtones. Shoot close-up details to use for artiﬁcial depth of ﬁeld effects Combine multi-exposure source images Make adjustments for exposure differences Make adjustments for color differences

Import corrected source images and stitch using Photomerge Edit misaligned areas Edit moving subject areas Add artiﬁcial depth of ﬁeld foreground elements

Print panorama or produce spinning VR image Good

Best

EXTENDING YOUR WEB ABILITIES

Extending Your Web Abilities

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’m old enough to still remember the ubiquitous ‘black’ folio case. In fact I think my chiropractor remembers it as well; I have been a regular client ever since. It wasn’t just the weight of 30–40 matted prints that made the task difficult; it was the unwieldy size of the case that made touting the folder from office to office a daunting task. I’m happy to say that there is a new set of imagemakers (professionals and amateurs alike) who have no knowledge of my folio-carrying woes. The notion of the folio still exists and remains the stable marketing device of most creative professions, but the black case may be gone forever. In its place is a cyberspace folio, accessible any time, and place, for potential clients or admirers, armed with nothing but a common web browser.

Photo website styles The style of the site you make will depend on the nature of your work and the content that you wish to share with the world.

Thumbnail and gallery >> Proliﬁc image-makers who want to keep an archive of their work on-line will need to use a design that allows many images to be previewed before selecting a single picture to look at in higher resolution. Usually referred to as a ‘thumbnail and gallery’ design, this is by far the most popular form of photo website on the net today. Used by photographers, galleries and stock agencies, this design is a great way to provide quick access to a lot of pictures. Because of the size of the thumbnails they download quickly and placing a single image on individual gallery pages also speeds up their display time. The format has proved so popular that packages like Photoshop Elements include automated wizards for creating these type of photo sites.

On-line résumé >>

Open 24/7 The web is a ‘godsend’ for photographers who are eager to display their pictures. An on-line gallery space which contains biographical and résumé details, as well as a folio full of examples of past work, is like having a personal promotions manager on hand 24 hours a day, 7 days a week. Never before has it been possible to share your photographs with such ease or obtain this much exposure of your talent and abilities for such little cost. Gone are the days where you have to send your precious images to far ﬂung parts of the country in order to share that precious moment of little Johnnie’s ﬁrst step. A few simple clicks from anywhere in the world and Johnnie’s agility and prowess can be admired by all.

Photo site styles Photo sites come in all shapes and sizes and no matter whether you are part of a multinational imaging company or a weekend shooter who wants a few images on a page, a little design thought early on will Book resources at: www.adv-elements.com

Professional image-makers saw the potential of the web as a marketing tool very early in the life of the net. They frequently use it to hold CV or résumé information including lists of past and present clients, contact details and, of course, a few of their images. In fact, most shooters who make a living from their pictures probably have a site that is a combination of the thumbnail/gallery type introduced above and the on-line résumé we see here. This type of web presence is now a necessity rather than a nicety for most photographic businesses.

Slide show >> In an interesting variation of the thumbnail/ gallery folio site, some image-makers have dragged the automated slide show presentation idea of old squarely into the 21st century. Using interactive technologies like the Adobe Flash format and the new animated web templates in Elements, these photographers have created online slide shows that display a changing sequence of their best images.

All on one page >> The simplest approach to making your own website is to combine your images and text on the one page. Doing so means that there is no need to worry about making and linking extra pages. This approach is handy for those who want to give their audience a taste of their work and then provide contact details for further information, or for the photographer who wants to establish a web presence quickly, before ﬁnally linking the thumbnails to a range of gallery pages.

EXTENDING YOUR WEB ABILITIES

make for a better site. Just as there are various styles of digital imaging magazines there are also different forms of the humble photo website. A little time spent surﬁng will have you easily identifying different types of sites made by photographers. There are those that are full of shooting information – facts and ﬁgures, others that display a design-based approach, and the most popular – the virtual gallery. Time spent on the web will also provide you with the opportunity to see what works and what needs to be avoided when creating your own site. Using what you learn from your on-line roaming make some decisions about the style of site you want. Are the pages full of information about you, your history and your past work, is the site a sales point for your images or is your web presence designed to ‘wow’ your friends and family with the vibrancy and energy of your imaging and/ or design skills?

Building websites – the basics All websites are constructed of several different components or elements. With Flash-based sites these separate parts are incorporated into a single design. In contrast standard or HTML-based sites work quite differently. The separate website pieces, which include text, images, buttons and headings are arranged, or laid out, in groups on individual pages. When viewed on screen these pages appear as a single document, much the same as a word-processed page. But unlike a typical printed page the components that make up a website remain separately saved ﬁles and the web page document itself simply acts as a series of pointers that indicate where elements are to be found and how they look and where they are placed on the page. You can view the source code or HTML text of any page by selecting the View > Source option in your browser. What you will see is a series of instructions for the location and layout of the page parts and their ﬁles. When a viewer looks at the page, the browser software recreates the

313

Website styles >> Most photographers’ websites are based around a gallery idea and consist of: (a) a front or home page, (b) an index of thumbnails, and (c) a series of individual gallery pages. www.brittan.demon.co.uk. Courtesy of Philip J Brittan © 2007, UK.

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Website assets

The various components that are used to make up a web page or site can be broken into several main categories:

Images >> Images form the backbone of any photo site. Creating image assets is a process where the picture is optimized in size and quality so that it can be transmitted quickly over the net. For a photo gallery site both thumbnail and gallery images need to be created.

Headings >> Headings that are present on every page are usually created and saved as a picture rather than text. For this reason the same optimization process involved in the production of pictures for the net is used to create headings for the site.

Buttons >> Buttons come in a variety of formats, both still and â&#x20AC;&#x2DC;rolloverâ&#x20AC;&#x2122; or animated. The face of the button is created with an illustration or picture using an image editing package. The Button function, moving the viewer to another page on the site for instance, is controlled by a small piece of code added later in the layout package.

document, ďŹ nding the component ďŹ les and laying them out as instructed by the HTML code. As you start to make your own pages this is an important concept to remember, as you will need to keep track of all the various ďŹ les that are used throughout the site and ensure that they are available when requested by the browser.

Creating web pages without writing HTML or knowing Flash Until recently, creating your own web pages required budding net designers to have a good working knowledge of HTML or the code used to tie all the pieces together.

Animation, sound and movies >>

If you wanted to create a more dynamic site, that contained a little animation, or interactivity, then you had to be proďŹ cient at using Adobe Flash. Thankfully there are now many software programs on the market including Elements that allow you to create a web page or site without ever having to resort to creating HTML coding or use Flash.

Animation, Sound and Movie assets are usually created in third-party dedicated production packages and added to the site in the layout part of the process.

Two approaches to site creation

Text >> Text can be typed directly into position using the layout software or compiled in a word processing package and then imported. In the example site the photographerâ&#x20AC;&#x2122;s information and details may be able to be taken from an already prepared CV or rĂŠsumĂŠ.

There are essentially two approaches. You can: t $IPPTF UP VTF B QBDLBHF EFTJHOFE TQFDJm DBM ly for web page production such as Microsoft FrontPage and use Elements to optimize your pictures and create other assets, or t &NQMPZ TPNF PG UIF HSFBU BVUPNBUFE XFC QSP duction features bundled as extras in Elements.

HTML code >> Web pages are constructed of several different parts including text, images, buttons and headings. The position of each of these components is controlled by the HTML code that sits behind the page. The page parts are brought together using these coded settings when you look at the page in your browser.

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Either way you get to concentrate on the design not the code. Thank goodness! In this chapter we will look at both approaches by ďŹ rstly creating a muti-page website using the newly revised Elementsâ&#x20AC;&#x2122; Online Gallery feature and then go on to create some key assets for a second site that will eventually be laid out using a third-part program.

EXTENDING YOUR WEB ABILITIES

Suitable for Elements â&#x20AC;&#x201C; 6, 5.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Related techniques â&#x20AC;&#x201C; 10.02, 10.03 | Menu used â&#x20AC;&#x201C; File

The Elements Online Galleries tool (previously called Web Online gallery and HTML Online gallery tool) is a purpose-built feature designed to take a selection of images and produce a multi-page fully linked gallery site in a matter of a few minutes. The updates of the feature over the last few editions of Elements mean that users now have even more choice and control over the way their site looks and works. You now can choose between basic thumbnail and gallery type sites or animated or interactive designs. All sites produced by the feature use Adobe Flash technology and so the pages load quickly and the animated components in the productions work smoothly. The featureâ&#x20AC;&#x2122;s settings are contained in several panels located in the new Task pane area on the right of the Organizer workspace. Using these controls you can select the style of the site and then customize both the look of the pages as well as the information presented. In most site styles the viewers navigate round the site, from image to image or back to the front page via a series of arrow buttons or, with some designs, the images automatically change in a slide show format. Once completed the ďŹ nished site can then be shared with the world. In Elements 5.0 and 6 the program handles the often confusing task of uploading to an ISP or web server. So with as little as ďŹ ve mouse clicks it is possible to select, create and upload your very own professionally designed web gallery.

Choose the images In Elements 5.0 and 6 you can multi-select the images to include in the gallery from the Organizer workspace before opening the Online galleries feature. Donâ&#x20AC;&#x2122;t panic if you forget an image though as you can also choose to add or remove photos from inside the featureâ&#x20AC;&#x2122;s ďŹ rst dialog. Select your images BOE UIFO DIPPTF UIF 0OMJOF (BMMFSZ FOUSZ GSPN UIF OFX $SFBUF UBTL QBOF As no edit or enhancing options are available inside the Website Production feature make sure that the photos that you want to include are already enhanced before starting the process.

Select a website style

Auto website creation >> The quickest and easiest way to create a website is to use the in-built Online Gallery feature in Elements. With a few clicks you will have a fully functioning â&#x20AC;&#x2DC;thumbnail and galleryâ&#x20AC;&#x2122; website.

The Online Gallery feature contains several wizard-based panels. The ďŹ rst lists the images selected in the Organizer workspace and provides options for adding extra images or removing existing photos from the group. If you have sourced the photos from an Elementsâ&#x20AC;&#x2122; Album (collection) then the sequence of images is preserved during import, otherwise the images are listed top to bottom in the same order that they were selected (left to right) in the Photo Browser. The order can also be adjusted once the m MFT BSF JO UIF QBOF CZ DMJDL ESBHHJOH JOEJWJEVBM UIVNCOBJMT BSPVOE UIF HSPVQ $MJDLJOH /FYU displays a second panel and is used for selecting the type of website that you want to create. In version 6 there are now six different gallery categories:

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EXTENDING YOUR WEB ABILITIES

11.01 Elementsâ&#x20AC;&#x2122; Online Galleries websites

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Interactive â&#x20AC;&#x201C; Again less options for altering the look of the design but many of the templates here are truly dynamic and provide the option for the user to control the way that the pictures are viewed. Very cool! Standard â&#x20AC;&#x201C; Traditional thumbnail and gallery image sites with plenty of customization of the siteâ&#x20AC;&#x2122;s look as well as the option to save your custom changes as a new style for later use. Animated â&#x20AC;&#x201C; Fully animated and themed sites with less customization opportunities but plenty of wow factor. Journal o $POUBJOT B MBSHF UFYU BSFB PO UIF MFGU PG UIF XFCQBHF XIJDI MJTUT BMM UIF DBQUJPO information added to the image. Small thumbnails run across the bottom of the page. Slideshow o $SFBUFT B TJNQMF TDBMFBCMF TMJEFTIPX HBMMFSZ Video â&#x20AC;&#x201C; A single video display page containing a background and using a 400 x 300 pixel video. The site category is selected at the top of the screen from the drop-down menu. This choice you make here will alter the template design thumbnails displayed in the rest of the pane. Each thumbnail represents an individual design with differences ranging from simple color changes to completely different look and feel to the website. Select a thumbnail and then click Next to move to the following panel.

Photo Galleries >> All the main options for your website creation are contained in four panels. The first screen is for selecting the type, or category of website to create (a), the second provides customization options (b), the third, a preview of the site as well as save settings (c) and the last, Share options (d).

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EXTENDING YOUR WEB ABILITIES

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Step 1 >> Multi-select the images to include in the site from those in the Organizer workspace. To pre-order a group of pictures, add them to an Album ﬁrst and then click-drag them into your chosen sequence.

Step 2 >> Start the feature by choosing the Online Gallery entry from the Create Task Pane.

Step 3 >> With the ﬁrst open, clickdrag photos to alter the order that they will be used. Add new photos to the list or remove existing images using the add (+) or remove (-) buttons.

Step 4 >> Choose the website Category from the drop-down menu. Next pick a speciﬁc template from the thumbnail list. Click the Next button.

Step 5 >> Set the custom options for the website template that you have chosen. Different options are available for different templates. Add in website title and contact details.

Step 6 >> Preview the site and your custom settings in the right of the workspace by clicking the Refresh button at the bottom of the pane.

Step 7 >> Insert the saving name for the gallery. This will be used as the name of the folder where the gallery ﬁles will be saved as well as the creation ﬁle entry in the Organizer space. Also nominate the save directory.

Step 8 >> Next, select the method for sharing the gallery. To save, choose the Do Not Share option. To make use of the Photo Showcase web space select this option. To distribute the website via disk choose the CD entry.

Step 9 >> To upload to an existing web space, pick My FTP Site. Click the Share button and then add in your ISP settings. These settings are available from your ISP provider.

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EXTENDING YOUR WEB ABILITIES

Adjusting the website settings The next panel contains custom settings for the site. The number and type of customization options will depend on the website template that you have selected. For all templates you can add in a site title and contact details for the photographer, however when selecting the Standard category websites you will ďŹ nd that you have many more customization options. With this set of templates you can also adjust site colors, border and button opacity, connection speed optimization, slide show settings, and caption and ďŹ le name inclusion.

Previewing your site $MJDLJOH UIF /FYU CVUUPO XJMM EJTQMBZ B TJNQMF 4BWF QBOF BMMPXJOH UIF VTFS UP JOQVU B OBNF for the gallery project and choose a location for the saved ďŹ les. A functioning preview of the completed site will also be displayed on the left of the workspace.

Sharing the site The only job left now is to share your masterpiece of web design with the world. This used to be a tricky task involving complicated procedures and extra bits of utility software but since version 5.0 it has become a much easier and more streamlined process. The Online Gallery feature includes three quick ways to share your website (plus a non-share or purely save option). The choices are listed in the Share To drop-down menu at the bottom of the dialog and include: Photoshop Showcase â&#x20AC;&#x201C; Upload to a free on-line sharing area provided by Adobe Photoshop Services. My FTP Site â&#x20AC;&#x201C; Transfer to your own ISP or net space provider. CD o "O PQUJPO GPS CVSOJOH UIF HBMMFSZ EJSFDUMZ UP B $%

Share To options >> After completing the design part of the process you can then elect to share your website in a variety of ways.

Creating individual web assets using Photoshop Elements Now that you have seen how to create pages and their assets automatically using the Web Gallery letâ&#x20AC;&#x2122;s take a little more control of the process by manually creating each of the major assets using Elements. We will then lay out the results of our labor in a web production package to create our ďŹ nal site. Book resources at: www.adv-elements.com

EXTENDING YOUR WEB ABILITIES

11.02 Optimizing photos for the web

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Suitable for Elements â&#x20AC;&#x201C; 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic Related techniques â&#x20AC;&#x201C; 10.01 | Menus used â&#x20AC;&#x201C; File

The skill of making a highly visual site that downloads quickly is largely based on how well you optimize the pictures contained on the pages of the site. The process of shrinking your pictures for web use involves two steps: t 'JSTUMZ UIF QJYFM EJNFOTJPOT PG UIF JNBHF OFFE UP CF SFEVDFE TP UIBU UIF JNBHF DBO CF WJFXFE without scrolling on a standard screen. This usually means ensuring that the image will ďŹ t within a 640 x 480 or 800 x 600 pixel space. t 4FDPOEMZ UIF QJDUVSF JT DPNQSFTTFE BOE TBWFE JO B XFC SFBEZ m MF GPSNBU 5IFSF BSF UXP NBJO choices here â&#x20AC;&#x201C; GIF and JPEG. Compression type After Before preview

The best way to optimize your pictures for web use is via the Save for Web (Editor: File > Save for Web) option in Elements. This feature provides before and after previews of the compression process as well as options for reducing the size of your pictures, all in the one dialog. Using this feature you can select the ďŹ le format, adjust compression settings, examine the predicted ďŹ le size and preview the results live on screen. Zoom

Original

compression preview

File size and predicted

and associated settings

Preview in

Animation

To create a typical â&#x20AC;&#x2DC;thumbnail download time after settings for level name and browser compression GIF format ďŹ le size and galleryâ&#x20AC;&#x2122; site you will need Save for Web >> The best way to ensure that you are using two different versions of your the best balance between file size and image quality is to images â&#x20AC;&#x201C; full screen size images suitable for use as preview your compression and file type choices in the Save for Web feature. gallery pictures and small thumbnails that can be laid out together on an index page. To make these resources you will need to size and compress each image twice and then save the ďŹ nished ďŹ les into two separate folders titled â&#x20AC;&#x2DC;thumbnailsâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;galleryâ&#x20AC;&#x2122;. Make sure that the gallery images are no bigger than one full screen and that the thumbnails are small enough to ďŹ t several on the page at the one time.

File formats for images on the web The standard PSD or Photoshop Elements ďŹ le format is not suitable for web use; instead several different picture types have been developed especially for on-line work. The two most common are JPEG and GIF. Book resources at: www.adv-elements.com

Original pixel dimensions

New pixel size settings

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1. JPEG, or JPG, or Joint Photographic Experts Group, is a file format specially developed for photographic web images. It uses a lossy compression technique to reduce files to as little as 5% of their original size. In the process some of the detail from the original picture is lost and ‘tell-tale’ artifacts, or visual errors, are introduced into the picture. The degree of compression and the amount of artifacts can be varied so that a balance of file size and image quality can be achieved. More compression means smaller file sizes, which in turn means poorer image quality. On the other hand less compression gives larger files of better quality JPEG images that can contain millions of colors rather than the comparative few available when using GIF. The format has massive support on the net and is the main way that photographers display their web pictures. 2. GIF, or the Graphics Interchange Format, has had a long (in internet terms) history with web use. It has the ability to compress images mainly by reducing the numbers of colors they contain. For this reason it is great for headings, logos and any other artwork with limited colors and tonal graduation. It can also display pictures that contain areas of transparency and can be used for simple ‘cell-’based animation. This format is not suitable for most photographic images.

How big is too big? When you are producing your ﬁrst web pages there is always the temptation to keep as much image quality in your pictures as possible, resulting in large ﬁle sizes and a long wait for your site visitors. Use the table aside to help you predict how long a web picture will take to download to your recipient’s computer.

Step 1 >> Open the original image and select the File >Save for Web feature. Input the image size into the New Size section, being sure to keep the pixel dimensions less than 640 x 480. Click Apply. Set previews to 100%.

Balancing Compression and Image Quality >> Photographers wanting to display their images on the net are caught between the two opposing forces of image quality and image file size. When Adobe created Elements they were well aware of these difficulties and, to this end, they have included sophisticated compression features that give the user a range of controls over the process. The Save for Web feature contains a Preview option that allows you to view the original image after the compression and conversion to web format has taken place. In addition, the dialog also displays predicted compressed image sizes that will allow you to ensure that your web files are not too cumbersome and slow to download.

File size

Download Speed 14.4 Kbps (modem)

28.8 Kbps (modem)

56.6 Kbps (modem)

128 Kbps (Cable)

30KB

24 secs

12 secs

6 secs

3 secs

100KB

76 secs

38 secs

19 secs

9 secs

300KB

216 secs

108 secs

54 secs

27 secs

1000KB (1MB)

720 secs

360 secs

180 secs

90 secs

Step 2 >> Try different ﬁle format, compression setting or numbers of colors. Determine the best balance of ﬁle size and image quality. Check the download times. Click Save to store the image.

Book resources at: www.adv-elements.com

Step 3 >> After creating the gallery images you can repeat the process using smaller pixel dimensions to generate the thumbnail versions of the pictures. Thumbnails should be between 60 x 60 or 100 x 100 pixels.

EXTENDING YOUR WEB ABILITIES

Proâ&#x20AC;&#x2122;s Tips for good image compression: t "MXBZT VTF UIF 4BWF GPS 8FC DPNQSFTTJPO UPPM UP QSFWJFX UIF TJEF CZ TJEF JNBHFT PG the original and compressed picture. t 'PS (*' JNBHFT USZ SFEVDJOH UIF OVNCFS PG DPMPST UP HBJO FYUSB DPNQSFTTJPO t "MXBZT WJFX UIF DPNQSFTTFE JNBHF BU PS HSFBUFS TP UIBU ZPV DBO TFF BOZ BSUJGBDUT t 'PS +1&( JNBHFT DBSFGVMMZ BEKVTU UIF 2VBMJUZ TMJEFS EPXOXBSET UP SFEVDF m MF TJ[F t %P OPU TIBSQFO UIF QIPUPT UP CF DPNQSFTTFE /PO TIBSQFOFE QJDUVSFT DPNQSFTT UP TNBMMFS sizes. t 5BLF OPUJDF PG UIF QSFEJDUFE m MF TJ[F BOE QSFEJDUFE EPXOMPBE UJNF XIFO DPNQSFTTJOH JNBHFT

11.03 Making seamless backgrounds Suitable for Elements â&#x20AC;&#x201C; 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate Tools used â&#x20AC;&#x201C; Selection tools, Clone Stamp | Menus used â&#x20AC;&#x201C; Filter, File

The HTML language has a speciďŹ c feature designed for including backgrounds with your pages. As you can imagine, using a full size image for a background would greatly increase the ďŹ le size and therefore the download time of your pages, so in their wisdom, the early web engineers included the ability to tile a small graphic pattern over the whole of the background of each page. Using this method, a small, highly optimized picture can be repeated in a grid over the expanse of the whole screen, giving the appearance of a seamless background with little download time cost. Using the Offset ďŹ lter (Filter>Other>Offset) in Elements you can create a special background graphic containing matched edges that will seamlessly tile across a whole web QBHF 4FMFDU B TFDUJPO PG B TVJUBCMF JNBHF $PQZ BOE QBTUF UIF selection as a new document. Apply the ďŹ lter using offset settings that are exactly 50% of the dimensions of the image and choose the Wrap Around option. This displays the edges PG UIF UJMF JO B DSPTT JO UIF DFOUFS PG UIF JNBHF 6TF UIF $MPOF Stamp tool to disguise the joins by merging similar areas and textures together. To ďŹ nish save the ďŹ le in JPEG format using the Save for Web feature. With the tile made you can now select it as the background image in your web layout program.

Repeating background tiles >> The tiles that you make using the Elements Offset ďŹ lter can be used to create repeating backgrounds by selecting them as the background image in your web layout program. The GoLive dialog above shows how the tile image can be used for creating seamless web backgrounds.

Book resources at: www.adv-elements.com

EXTENDING YOUR WEB ABILITIES

Generally, a delay of 10â&#x20AC;&#x201C;15 seconds for large gallery images is acceptable, but download times longer than this may cause your audience to surf elsewhere.

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Step 1 >> Select an area of an image to use as a base for the tile. Copy and paste the selection into a new document.

Step 2 >> Select the Offset ﬁlter and input width and height values that are 50% of the image size. Select the Wrap Around option.

Step 3 >> Use the Clone Stamp or Spot Healing Brush tools to disguise the joins in the picture. Save as a JPEG using the Save for Web feature.

11.04 Using background matting Suitable for Elements – 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic | Menus used – File

Most photos that are optimized for use on the internet are saved in the JPEG format. As part of the construction process of a web page, the pictures are placed on top of a colored background. The JPEG format does not contain a transparency option and so when an irregularly shaped graphic is saved as a JPEG and placed onto a web page it is surrounded by a plain colored box, usually white. Background matting is a technique for adding the web page color to the background of the object at the time of web optimization. When the matted object is then used to create the web page, it appears to be sitting on the background as if it was surrounded by transparency. The transparent pixels surrounding the object are replaced with the matte color and the semi-transparent pixels are blended. The Matte option is located in the settings area of the Editor: File > Save for Web feature.

Step 1 >> Choose the web page color by double-clicking the foreground swatch to show the Color Picker and then selecting the Only Web Colors option. Next create a picture with a transparent background.

Step 2 >> Choose Editor: File > Save for Web feature and the JPEG option. Select the same color for the Matte by double-clicking the swatch and selecting from the Color Picker. Click OK to save.

Book resources at: www.adv-elements.com

Step 3 >> Now construct the web page with the same color in the background and add in the new matted graphic. When the page is displayed the object will seamlessly merge with the page color.

FREE FORM PHOTO COLLAGES

Free Form Photo Collages

Book resources at: www.adv-elements.com ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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hotoshop Elements 5.0 heralded a major change in the way that photographers created free form layouts and multi-page books. Version 6 continues the revolution with the reﬁning of both these features, now called Photo Book and Photo Collage, and a complete revamp of the Photo Bin, now called the Project Bin, so that rather than just being a place to view open images it becomes a multi-purpose ‘go to’ area for your project actions. I believe that these features provide photographers with new and powerful ways to use their images to generate create projects in ways that even Photoshop users can only dream of. So to get started let’s look at some of the technology that underpins this new way of working.

Adobe has created a new layer type, Frame layers, a new file format, the Photo Project or PSE format, a new design system that uses special matched frames and backgrounds sets called Themes, created an updated version of the Photo Bin, called the Project Bin, a set of Photo Projects that makes use of all this new technology and, finally, a new Task Mode based layout workflow. Sound confusing, well some of the features are new and some are continuations of technology from version 5.0, but once you begin to play with Photo Collages, the process seems so logical and familiar that it isn’t long before you will start to feel at home with the new workflow. So to get you started this chapter will look at the basic techniques that are involved in the layout workflow.

Create Task Pane Create Photo Book

Create Photo Collage

Choose paper size

Select a Theme (the theme can be replaced after creation)

Multi-select images to include in the Photo Project

Organizer workspace

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Before you start – edit then layout

This is especially true when working with the special framed picture elements of a Photo Collage as these visual components are stored in a special Frame layer which has to be simpliﬁed before it can be edited. The act of simpliﬁcation, which is also called rasterization, converts the Frame layer to a standard image layer and in the process removes the layer’s ability to scale, rotate and distort repeatedly without image quality loss.

Pick Layout design (the design can be customized later)

Automatically add captions

Auto-ﬁll with photos from the Project Bin

Great layouts quickly >> The Photo Book feature fast tracks the production of multi-image, multi-page projects in Photoshop Elements. The Photo Collage option on the other hand is used for creating single page montages of multiple pictures. To use either simply select the images to include in the Organizer space and pick either the Photo Book, or Photo Collage, entry from the new Create Task pane. The Editor workspace then opens and the selected images are displayed in the Project Bin. Next style the layout with the theme and/or layout options in the Create Task Pane and then click the OK button to produce the layout in Full Edit space.

Book resources at: www.adv-elements.com

FREE FORM PHOTO COLLAGES

The production of Photo Collages, or any of the other Photo Projects, in Photoshop Elements is essentially a presentation exercise for photos that have already been enhanced. For this reason it is a good idea to complete any preliminary editing work such as color and tonal correction, spotting and retouching changes and the application of sharpening before including the picture in a new Photo Collage.

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12.01 Basic steps for layout creation Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Resources – Web image 1201-1, 1201-2, 1201-3 Related techniques – 12.02, 12.03, 12.04

Using the Photo Collage feature, one of the Photo Project options in Elements 6, is a simple multistep process with the creation options centered around the new Create Task pane.

Step 1 >> The process of creating a Photo Collage, will generally start in the Organizer workspace. Here you can multi-select the photos that will be used in the layout. To choose a series of images click on the ﬁrst thumbnail and then hold down the Shift key and click the last picture in the series.

Step 2 >> To pick non-sequential photos, select the ﬁrst and then hold down the Control key whilst clicking on other thumbnails to be included in the selection. With the images highlighted the next step is to choose the Photo Collage option from the Create Task pane.

Step 3 >> Using an Elements’ Album (collection) as a starting point you can alter the order or sequence that the photos appear in the multi-page document. After rearranging the position of photos in the collection, multi-select those to be included in the layout.

Step 4 >> Alternatively a blank document can be created by selecting the Photo option in Create Task pane in either the Editor or Organizer spaces. Photos that are already open can then be dragged into the blank document from the Project Bin area of the Editor. Nonopened pictures can be added by clicking onto the Click Here to Add Photo section of the newly created frames. Album images can also be displayed in the Project Bin by choosing the Album entry from the Bin’s menu.

Step 5 >> Next choose the Photo Collage option from the Create Task Pane. The selected images are transferred to the Project Bin and the Projects panel is displayed in the Create Task Pane. You can select the Size of the photo collage document from those contained in the dropdown list at the top of the panel.

Step 6 >> The next step is to choose the Theme for the collage. The Theme options provide the chance to reﬁne the way that the layout looks. Here you can choose matched background and frame treatments. The Layout settings control the number and general position of the pictures on the document pages. The last section provides the Additional Options of auto ﬁlling the pages created with selected photos, adding caption details and altering the total number of pages created.

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FREE FORM PHOTO COLLAGES

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FREE FORM PHOTO COLLAGES

Step 7 >> Extra pages and images can be added or removed after the Photo Collage has been created from inside the Full Edit workspace. The frames, backgrounds and themes can also be changed by applying an alternative design from those listed in the Content panel situated in the Artwork section of the Create pane.

Step 8 >> Once the Photo Collage characteristics are set then clicking the Done button at the bottom of the pane will instruct Elements to create the free form multi-page document. This process can take a little while as the program creates the pages and then sources, sizes and inserts the pictures into the new Photo Collage.

Step 9 >> Each photo is stored on a separate Frame layer which is indicated by a small plus icon in the bottom right of the layer’s thumbnail. The Layers palette can be displayed (along with other editing tools) when selecting the Edit option in the Task Pane area of the Editor workspace.

Step 10 >> Frame layers are unlike other image layers in that they contain both the photo as well as its surrounding frame. These picture parts are stored separately and remain editable even though they appear as a single layer. When the creation process is ﬁnished you can ﬂip between pages (if you have created a multi-page document) by clicking on the next (or previous) page in the Project Bin or pressing the Forward and Back buttons in the Organizer space.

Step 11 >> Unlike the album pages in earlier versions of Elements, Photo Collage and the other Photo Project, and their contents, remain editable after they have been saved and reopened. To enable this new ability Adobe created a completely new ﬁle format for the multi-page editable documents. Called the Photo Project Format it has an extension of .PSE as opposed to the .PSD that is associated with standard Photoshop and Photoshop Elements documents.

Step 12 >> When saving a newly created Photo Collage the ﬁle format in the Save dialog automatically changes to .PSE. By default the Include in the Organizer option is also selected ensuring that the new document is catalogued and displayed in the Organizer space. A small Multi-page icon is displayed at the top right of the thumbnail of each Photo Collage document displayed in the Organizer.

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Quick change layouts using Themes >> The Photo Collage and Photo Book features in Elements can be used to quickly create a series of photo album pages using photos selected in the Organizer workspace. A variety of layout designs are shipped with the program with other variations promised as downloads in the future. Changing a design (a speciﬁc background and frame) is as simple as Applying a new Theme from the Artwork > Content section of the Create pane.

12.02 The new super Project Bin Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Resources – Web image 1201-1, 1201-2, 1201-3 Related techniques – 12.02, 12.03, 12.04

Starting life as a humble place to store photos open in the Editor workspace the Photo Bin, now called the Project Bin has been upgraded for version 6 of Photoshop Elements. Sure the bin still displays those images that are open in the workspace but this is only part of the story. The Project Bin contains two drop down menus on the upper edge of the bin. The menu on the left provides a choice of which images are displayed in the bin. The options include: Show Open Files – This option displays all images currently open in the editor workspace in a group in the project bin. Show Files From Organizer – Use this choice to display any images currently selected in the Organizer workspace. Show Albums – Though not a speciﬁc entry itself, the next group of options in the menu are headings for all the Albums that have been saved in the Organizer workspace. The number of entries listed here will be determined by the number of Albums you have created in the Organizer. Selecting and entry here will display all the images contained in the Album in the Project Bin Providing better control over the images that are displayed in the Project Bin helps users when they are constructing Photo Book pages or individual Photo Collages. It is no longer necessary Book resources at: www.adv-elements.com

FREE FORM PHOTO COLLAGES

By selecting the Auto Fill with Project Bin Photos option at the bottom of the Photo Book or Photo Collage pane, the pictures will be inserted into new frames and pages. Alternatively a blank multi-page document can be created by deselecting this option and then the pictures can be dragged to the blank frames from the Project Bin.

Project Bin actions On the right of the ‘show’ drop-down menu there is a second menu containing special actions that can be performed directly from the Project Bin.

Auto-Fill >> The Auto-Fill with Project Bin Photos option inserts the images from the bin into the frames and onto the pages created in the multi-page document. Elements will create as many pages as is needed to place all of the images displayed in the bin.

Show ﬁles currently open in the Editor workspace Show images currently selected in the Organizer workspace

Albums list shown in the Organize pane of the Organizer workspace

Albums list shown in the Project Bin. Click to show the contents of the Album in Project Bin

Displaying Album contents in the Editor workspace >> One of the real bonuses in the upgrade of the Project Bin in Elements 6 is the ability to display Albums inside the Editor workspace. The drop-down menu on the left of the Project Menu lists all saved Albums. Selecting an entry will display the Album’s photos in the Bin ready for inclusion in photo projects.

Book resources at: www.adv-elements.com

FREE FORM PHOTO COLLAGES

to bounce back and forwards between Editor and Organizer workspaces, locating suitable photos to include in your compositions. Just group all the images into an Album and then proceed to the Editor workspace. Display the images in the Project Bin by choosing the Album entry from the dropdown list. Next select the Create Option from the Bin Actions menu and choose the Photo Book or Photo Collage option from the Create Task Pane.

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There are four possible Project Bin actions: Create – Selecting this entry switches the Task Pane on the right of the editor workspace to the Create option providing easy access to the Photo Projects. Share – The Share option displays the Share Task Pane on the right of the Editor workspace. Print Bin Files – Select this entry to automatically add the images currently displayed in the Bin to the Print Photos dialog. This is a fast way to print all open ﬁles.

Bin Actions >> The Bin Actions menu is located beside the ‘show’ menu at the top edge of the Project Bin. The menu contains four different actions that can be performed from the bin.

Save Bin as an Album – Use this option to save all ﬁles displayed in the Bin as a new Album. This provides a great way to group images that you have been working on in the Editor workspace so that you can return to them later.

12.03 Editing existing Photo Collages Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Related techniques – 12.01, 12.03, 12.04

As we have seen, the Photo Collage feature can create a multi-page document complete with photos in frames on a background. In producing this design Elements will make decisions about the size and position of the frames and the pictures within them. On many occasions you will probably want to use the pages the feature produces with no alterations, but there will be times when you will want to tweak the results. At these times use the following techniques to edit the automatically produced designs.

Basic adjustments >> To move the picture and frame combination to a new position on the canvas just click and drag the combination. The size and orientation of the Frame/Picture can be altered by clicking on the picture and frame ﬁrst, to select it, and then using the corner, edge and rotate handles to scale or pivot. Click on the Commit button (green tick) at the bottom of the selected picture to apply the changes. To disregard the changes click the Cancel button (red circle with diagonal line through it) instead.

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331

Frame and picture combination changes summary

Rotate 90° Right or Left – Pivot the frame and picture by a set amount. Position Photo in Frame – Switch to Picture Select mode to allow scaling, rotating and moving the photo within the frame. Fit Frame to Photo – Automatically adjust the frame size to accommodate the dimensions and format of the place photo. Use this option if you don’t want to crop the photo with the edges of the frame. Replace Photo – Displays a ﬁle dialog where you can select a new photo for the frame. Clear Photo – Removes the photo but keeps the frame. Clear Frame – Removes the frame but keeps the photo. Bring to Front/Bring Forward – Moves the frame and photo up the layer stack. Send to Back/Send Backward – Moves the frame and photo down the layer stack. Edit Text – Switches text layers to the edit mode.

Altering the picture only >> As well as being able to alter the characteristics of the frame by selecting the photo you can perform similar changes to the picture itself. Doubleclicking with the Move tool or choosing the Position Photo in Frame option from the right-click menu selects the photo and displays a marquee around the picture. A small control panel is also displayed at the top of the marquee. To move the position of the photo in the frame simply click and drag on the image, releasing the mouse button when the picture is correctly placed. You can alter the size of the photo within the frame by moving the Scale slider (in the control panel) or by dragging one of the handles of the marquee. Moving a corner handle will scale the photo proportionately, whereas dragging a side handle will squish or stretch the image. The picture can be rotated in 90˚ increments (to the left) by clicking the Rotate button in the control panel. Alternatively, you can rotate the image to any angle using the rotate handle (middle of the bottom edge of the marquee) or by click-dragging the cursor outside the boundaries of the marquee. The photo can be replaced with a new picture by clicking the Replace button in the control panel and then selecting the new picture from the ﬁle dialog that is displayed.

Book resources at: www.adv-elements.com

FREE FORM PHOTO COLLAGES

Other adjustment options are available via the right-click menu when the Move tool is selected. Selections in this menu allow you to:

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Altering the Picture Only summary Extra image adjustment options are available from the right-click menu. The actions available are: Free Transform – The default mode where dragging the corner of the marquee scales proportionately and dragging the edges squashes or stretches the picture. The following keys alter the action of dragging a handle when in this mode: Shift + corner handle – Scales proportionately (this option is set by default when ﬁrst scaling so it may not be necessary to hold down Shift unless you moved an edge handle), Ctrl + any handle – Distorts the picture, Ctrl + Shift + middle edge handle – Skews the picture, and Ctrl + Alt + Shift + corner handle – Applies perspective. Scale – Resizes in the same manner as the Free Transform mode. Free Rotate Layer – Rotates the image when click-dragging outside of the marquee. Skew – Skews the photo when dragging an edge handle. Distort – Distorts the picture when moving any handle. Perspective – Applies a perspective effect when dragging a corner handle.

12.04 Adding, removing and replacing photos Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Related techniques – 12.01, 12.03, 12.04

Photo Collages do not become static documents once they are created. In the previous section we saw how it is possible to adjust the size, position and orientation of both the photo and frames that were added during the initial creation process, but the feature’s flexibility doesn’t end there. You can also add new photos, replace existing pictures with alternative choices and even remove images that you no longer want to keep. Here’s how. Adding new photos >> All editing of Photo Projects occurs in the Full Editor workspace. So to add new photos to an existing layout you need to add a new blank frame to the composition. Do this by clicking on the selected frame in the Content section of the Artwork area of the Create pane and pressing the Apply button. A new frame will be created on the current page of the document. To add a photo to the frame, click-drag one from the Project Bin to the frame or click the text in the empty frame and select a photo from the file browser that opens. Using this approach you can add a photo without it first having to be open in the Project Bin. When moving the photo make sure that the frame is highlighted with a blue rectangle before releasing the mouse button to insert the picture.

Book resources at: www.adv-elements.com

FREE FORM PHOTO COLLAGES

Getting new photos to ﬁt >> The last part of the process is to ﬁne-tune the picture by adjusting size, orientation and position within the frame. Use the techniques in the previous section to make these alterations.

333

A good starting place is to select the Fit Frame to Photo option from the rightclick menu. After the image and frame are the same size you can then scale, rotate and move the combination.

Replace existing photos >> It is just as easy to replace existing photos with different images whilst still retaining the frame. Select the frame ﬁrst and then click-drag a picture from the Project Bin to the frame. This action swaps the two pictures but you will need to have the replacement image already open in the Full Editor workspace beforehand. If this isn’t the case, then an alternative is to select the Replace Photo entry from the right-click menu and choose a new picture via the ﬁle dialog that is displayed.

Switching photos >> You can also switch photos between frames on a page by dragging the content of one frame over another. You will see a special Cursor icon when the image is in position and the content will be switched.

Removing photos >> Pictures inserted into frames can be removed whilst still retaining the frame by selecting the Clear Photo option from the right-click menu. The frame will then revert back to a blank state providing the opportunity to add a new image to the composition. If you want to remove both the frame and the photo it contains then select the frame ﬁrst and click the Delete key. A warning window will display asking you if you want to delete selected layers. Answer yes to remove the frame and picture from the composition.

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12.05 Adding, moving and deleting pages Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Related techniques – 12.01, 12.02, 12.03

If you selected the Auto Fill option when ﬁrst creating your Photo Collage then Elements will have generated enough pages to insert the photos that were initially included. If you want to add images, some text or graphics later on then you will need to add some extra pages. The new Photo Project ﬁle format (.PSE) was developed especially to handle multi-page documents and to ensure that tasks such as adding, deleting and moving pages was as easy as possible. All page management activities are centered around the PSE document in the Project Bin. The document can be displayed collapsed, where all the pages are grouped together on top of each other, or expanded, where each of the thumbnails representing a single page can be viewed separately. Adding Pages >> All new pages in a PSE document are added after the current selected page. So start by expanding the multi-page document in the Project Bin and then selecting the thumbnail of the page before the position where the new page is to be created. So to add a new page you choose either the Add Blank Page or Add Page Using Current Layout option from the Edit menu. The new page is then added to the document and a new thumbnail is displayed in the Project Bin to the right of the selected page. These Add Page options are also available from the right-click menu when you select a page in the Project Bin.

Adding pages options: In Elements you have two options for creating new pages: Add Blank Page – Use this option to add a white page with no frames, backgrounds or themes present. Once the page is created then text, graphics, shapes, frames, backgrounds and special effects can be added from the Artwork and Effects palette. Add Page Using Current Layout – This feature duplicates the layout settings of the selected page when creating the new one. Use this option to add new pages to a group of pages that already contain a background and frames as it will help to keep the look of the whole document consistent.

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FREE FORM PHOTO COLLAGES

Moving pages >> The position of pages (from left to right) in the expanded view of a multi-page document in the Project Bin indicates the page’s location in the production. The ﬁrst page in the document is the one position furthest to the left, the second page is the next one along to the right and so on. Changing the position of the page thumbnail in the Project Bin preview alters the page’s actual position in the document. Moving pages is a simple task – just click on the page to move and drag it to a new location in the document, release the mouse button and the page is relocated. Deleting pages >> Pages, and the frames and photos they contain, can be deleted from a multi-page document by selecting the page thumbnail in the Project Bin and then choosing Edit > Delete Current Page. Alternatively, the Delete Current Page entry can also be selected from the right-click menu.

Viewing pages >> Navigate between the different pages of your PSE document by selecting the thumbnail of the page that you want to display from the Project Bin. Alternatively you can move from one page to the next using the Forward and Backward buttons located at the bottom of the document window.

PSE document shown collapsed PSE documents in the Project Bin >> Multi-page Photo Project (.PSE) documents are displayed in the Project Bin with a shaded background. The document can be expanded or collapsed via the sideways arrow button on the right of the last thumbnail on the right.

Single Photo Collage page

PSE document shown expanded

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Individual photo

Collapse/Expand button

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12.06 Using the Content and Effects palettes Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Related techniques – 12.01, 12.02, 12.03, 12.04

Photoshop Elements contains a variety of tools and options for customizing a Photo Book or Photo Collage project. Most changes are made via options in the Effects, Content, Favorite and Layers palettes. These palettes or panes as they are sometimes called can be accessed via the Edit or Create (Artwork section) Task panes. It is worth noting though that different options are available for Photo Books and Photo Collage features. Because Photo Books are designed for the creation of documents that contain between 20 and 80 pages it is important to keep the ﬁles as streamlined as possible. For this reason it is not possible to access the Edit Task pane options. This means that there is no access to the Layers Palette and that the options in the Effects palette are limited. Photo Collage documents are designed for less pages and so can access the full range of features.

Content Palette or Pane So once a multi-page document is created the various components housed in the Content palette can be used to add to or alter the look and feel of your design. The palette has been completely revamped in version 6 and contains a drop-down menu on the left for the way that the content is sorted (by type, activity, color, event etc.) and the right for filtering the content so that only specific types are displayed (backgrounds, frames, graphics etc.). The content types include backgrounds, frames, graphics, shapes, text and themes. The themes area houses prebuilt and fully styled layout designs combining matched frame sets and backgrounds. Many of the frame and theme options featured in these sections are also available in the Photo Projects panes displayed when first producing the Photo Book or Photo Collage. The Text section contains a variety of one-click text effects that can be added quickly and easily to type. The Favorites group holds user selected favorites chosen from the other areas. To add a theme, frame, background or any other entry from the palette select the entry and then click the Add to Favorites button. To apply a theme or add artwork to a document select the Palette entry and click the Apply button. Extra palette options and preferences are available via the More button at the top of the palette.

Effects Palette The Effects palette (previously called Special Effects) includes ﬁlters, layer styles, and photo effects options. In version 6 these options have been given their own palette rather than being grouped together in a single Artwork and Effects palette as was the case in Photoshop Elements 5. To apply an effect to a document select the item in the layout to change and then choose the Palette entry and click the Apply button. The effect can also be dragged and dropped over the frame or graphic to apply the change.

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FREE FORM PHOTO COLLAGES Multiple designs in seconds >> You can change both frames and backgrounds of an existing layout with just two clicks â&#x20AC;&#x201C; one to select the new theme (combination of frame and background) and two to apply it to the design. All the designs here were created in this way. If you drag the design from the palette and drop it on the document, then you can make the change with only one click. Cool!

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Create > Artwork > Content section >> The Content section of the Artwork area of the Create task pane contains backgrounds, picture frames, graphics, text, themes and shapes that can be added to your layouts. Backgrounds, graphics and shapes all create their own layers when added. Frames, on the other hand, are applied to existing layers. To add a piece of artwork click on the thumbnail in the palette and then press the Apply button. To add a picture to a frame drag the image from another open document to the frame. All artwork except Backgrounds can be scaled and rotated via the corner, middle edge and rotate handles. Click the image layer to activate the handles.

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Create > Artwork > Content > Text section >> The Text section of the Content panel contains a variety of text effects that you can apply to the type in your Elements documents. The effects include bevels, drop shadows, glows and gradients, and only work with text layers. To add text to your composition click the thumbnail of the effect that you want to apply in the pane before finally clicking the Apply button. With Photo Collage compositions the attributes of the text effects (size of drop shadow, color of stroke, etc.) can be adjusted via the Layer > Layer Style > Style Settings. Text effects can be removed by selecting the Layer > Layer Style > Clear Layer Style entry. These options are not available for Photo Book productions. Create > Artwork > Effects section >> The Effects section of the Artwork pane groups together filters, layer styles and photo effects. Note that not all of these options are available for use with Photo Books. The Filters group contains many of the options that are listed under the Filter menu. To apply a filter select the layer to change, then the thumbnail in the palette and click Apply. Layers styles add effects such as drop shadows, outer glows and strokes to selected layers. These can be applied to text, image and shape layers and the characteristics of the styles can be customized via the Layer > Layer Style > Style Settings dialog. Photo effects alter your photos via a series of automatic editing steps. Options include convert to black and white, create a photo frame and add soft focus. Some Photo effects are applied to standard image layers, others only work with background layers. After selecting the effect to apply, a pop-up dialog will indicate if you are working with the wrong layer type. To correct, simply convert image layers to background, or vice versa, and apply the effect again.

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Create > Artwork > Favorites section >> The Favorites section of the Artwork pane lists all the artwork, effects, themes and styles that you have nominated as favorites. This area is a great place to store the Artwork entries that you use time and time again. For instance when you ﬁnd a layer style or ﬁlter that you particularly like then, rather than have to search for it each time you want to use it, simply click the Add Favorites star at the bottom of the palette to store the style in the Favorites area. Remove items from the Favorites by right-clicking on the thumbnail of the Favorites entry and selecting Remove from Favorites entry in the pop-up menu.

Create > Artwork > Content > Themes section >> The Themes section lists a variety of pre-designed backgrounds and matched frame sets that can be applied to your Elements’ document. A document page can only have one theme at a time so trying to apply a second theme will replace the existing background and frames. A multi-page document can have many differently themed pages though. Themes are a great place to start when you want to provide a consistent look and feel to your album or scrapbook pages. Commencing your project with themes doesn’t mean that you can’t add other frames, graphics, shapes or text later. Just choose and apply the selected frame style from the Artwork pane as you would normally. You can also change the theme’s background by picking and applying a new background. Different frame styles can be substituted by dragging the new style over the existing frame and letting go when the layer border turns blue.

Adjusting Style Settings in Photo Collages >> The attributes of the Text Effects or Layer Styles in Photo Collage designs can be adjusted using the Style Settings dialog which is displayed by double-clicking the ‘fx’ icon in the layer or by selecting Layer > Layer Style > Style Setting.

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12.07 Align, arrange and distribute your frames Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Related techniques – 12.01, 12.02, 12.03, 12.04

The Auto Fill option within the Photo Collage feature is a great way to get your photos into a layout quickly and easily. In the previous sections we have looked at how to adjust the pictures and the picture and frame combinations; now let’s look at how to change the way that each of the picture elements relate to each other. Photoshop Elements contains three specialist controls designed for this purpose. They are located on the options bar of the Move tool and are divided into Arrange, Align and Distribute headings. When clicked each shortcut button displays a variety of composition options in a dropdown menu.

Composition changes >> The options grouped under the Align, Arrange and Distribute shortcut buttons provide quick ways to alter the composition of your framed photos.

Align >> The Align option is one of three arrangement features designed to work with the contents of layers. After multi-selecting several layers in the Layers palette, the picture content of these layers can be composed according to the options in the Align menu. Top and Bottom Edges align the picture via the top or bottom extremities of layer content. The Vertical Centers option arranges the picture parts around a horizontal line or axis. Left and Right Edges move the picture content to either side aligning the edges of the detail. The Horizontal Centers feature arranges all the content of the selected layers around a vertical axis. In the example, the three pictures are aligned using the top edge of the frame. Do this by selecting the layers ﬁrst and then choosing Align > Top Edges.

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Distribute >> The Distribute option also arranges the content of layers within the canvas space. After multi-selecting several layers in the Layers palette, the picture content of these layers can be arranged according to the options in the Distribute drop-down menu. This feature can be used very successfully to evenly space picture parts within the canvas area. The Distribute > Horizontal and Vertical Centers options arrange the picture parts so that the axes of the objects are evenly spaced. The Top and Bottom Edges base the spacings on the upper or bottom most part of the object. The Left or Right Edges option distributes the objects using the side boundaries as the reference point for the spacing. In this example an even space was placed between the three photos by ﬁrst selecting all three layers and then choosing the Distribute > Horizontal Centers option.

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Arrange >> The Arrange option is one of three new layer organization features contained on the Move tool’s options bar. Unlike the Align and Distribute features, Arrange moves a selected layer (or group of layers) up or down the layer stack rather than moving the contents of these layers around the canvas area. To use the feature select a layer, or layers, in the Layers palette and then choose one of the options in the drop-down Arrange menu in the Move tool options bar. In the example document the red pepper picture (top layer) was selected and then the Send Backward option chosen. This moved the layer one position down in the order of the stack changing the picture so that the red pepper now sits behind the lemon. The Arrange options include – Bring Forward and Send Backward which moves the layer up or down one position and Send to Back which pushes the layer to the bottom and Bring to Front which places the layer on the very top of the stack.

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12.08 Printing your Photo Collages and Photo Books FREE FORM PHOTO COLLAGES

Suitable for Elements – 6, 5.0 | Difﬁculty level – Basic | Related techniques – 12.01, 12.02, 12.03, 12.04

As part of the technology behind the new Photo Collage feature the folk at Adobe created a new file format called the Photo Project Format. The files saved in this format differ from traditional Photoshop Elements files in that they can include multiple pages. The format has a file extension of .PSE. If a layout document consists of only one page then you can choose to save the file in either the Photoshop Elements format (.PSD) or the Photo Projects format, but once you have multiple pages in the layout then you can only save the document in the PSE file type. This new file type also brings with it different possibilities when it comes to output. You can now choose to print any single page from the document, all pages from the layout, a contact sheet, picture package, or label set of the pages or even order a Kodak Photo Book of the complete project all from inside Photoshop Elements. All printing options, except the on-line photo book ordering, are handled by either the Print (for single prints) or Print Photos (for multiple prints) dialogs. Print is accessed from inside the Full Edit space by selecting File > Print. The Print Photos dialog is displayed by either selecting File > Print Multiple Photos from the Full Edit space, Print Bin Files from the Bin Actions menu or File > Print from the Organizer (the Photo Project thumbnail must be selected first).

Bin Actions menu

Full Edit

Organizer Book resources at: www.adv-elements.com

Printing PSE documents >> Multi-page PSE, or Photo Project documents that are open in the Full Edit workspace, can be printed either a page at a time via the File > Print option or as a group of prints with the File > Print Multiple Photos. Also the new Print Bin Files option located in the Bin Actions menu can be used to output the ﬁles displayed as thumbnails in the bin space. The Photo Project can also be printed directly from the Organizer space without the need to open the document by electing the project’s thumbnail and then choosing the File Print option.

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Print Preview

Print Photos Once inside the Print Photos dialog you will notice that the pages of your Photo Project are listed as individual prints on the left side of the screen. Here you can choose to remove any pages that you don’t want to print by clicking on the thumbnail and then choosing the Remove button at the bottom of the screen. It is important to know that this action only removes the page from the print list and doesn’t make any changes to the Photo Project document itself. As well as the Individual Print Type setting, the Print Photos dialog also provides the ability to output the pages as a contact sheet, picture package or label set. See Chapter 13 for more details on these options.

Order a Kodak Photo Book or Kodak Prints You can also opt for getting your multi-page Photo Book produced as a Kodak Photo Book or a series of Kodak Prints. Simply select the completed creation project thumbnail in the Organizer space and then choose the Order Prints option from the Print On-line shortcut button. This will take you to the Kodak Print store where you can select the size and ﬁnish of the prints and where to send them. Add in your payment details and then the ﬁles are uploaded and the completed prints are delivered back in the post.

Ordering Prints of Photo Book pages >> Finished multi-page Photo Collage documents can be produced as individual prints via the File > Order Prints option.

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There is no need to display the individual page you want to print before moving to the Print Preview screen as a pair of Navigation buttons now appear below the preview thumbnail in the window. Use these to ﬂip through the pages in your document to select the page to output. If you decide that you want to print more than one page then click onto the Print Multiple Photos button at the top of the dialog to display the Print Photos screen.

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To produce a Kodak Photo Book select the Order button in the new floating options bar that appears alongside the preview of the photo book pages when open in the Full Edit workspace. This action will take you to the login screen for the online book production service. In most countries this service is provided by Kodak Easy Share gallery. If you have an account then you can proceed to the book ordering process otherwise you will need to undertake the free registration process before moving to the next screen. The process involves several steps including selecting the cover finish, adding in delivery and payment details and finally confirming the order. A few days later a professionally printed and bound book will arrive at your door.

Ordering Photo Books and Prints >> Finished multi-page Photo Collage documents can be produced as bound books with the Order Kodak Photo Books option.

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Finely Crafted Output

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t is one thing to be able to take great pictures with your digital camera and quite another to then produce fantastic photographic prints. In the old days of ﬁlm most photographers passed on the responsibility of making a print to their local photo store. Most, that is, except for a few dedicated individuals who spent their hours in small darkrooms under stairs or in the attic. Digital has changed all this. Now more shooters than ever before are creating their own prints. Gone are the dank and smelly darkrooms. Now the center of home or ofﬁce print production sits squarely on the desk in the form of a table-top printer.

Printing basics There are several different printer technologies that can turn your digital pictures into photographs. The most popular, at the moment, is the Ink Jet (or Bubble Jet) printer, followed by Dye Sublimation and Laser machines.

Creating millions of colors from as little as four Each of the printing technologies creates the illusion of millions of colors in the photograph by separating the picture into four separate base colors (some systems use six or seven colors). In most cases, these colors are Cyan, Magenta, Yellow and Black. This type of separation is referred to as CMYK (where K stands for the black component), which has been the basis of newspaper and magazine printing for decades. Once the picture is broken into these four colors, the printer lays down a series of tiny colored dots in a speciﬁc pattern on the paper. Looking at the picture from a distance, our eyes mix the dots together so that we see an illusion of many colors rather than just the four that the picture was created from.

Tones and colors made of dots To create darker and lighter colors the printer produces the colored dots at varying sizes. The lighter tones are created by printing small dots so that more of the white paper base shows through. The darker tones of the photograph are made with larger dots leaving less paper showing. This system is called halftoning. In traditional printing, such as that used to CMYK color >> Most printing systems are create the book you are now reading, different dot sizes, and based on breaking the full color picture (a) therefore tone, are created by ‘screening’ the photograph. In down into several color parts. Here the picture is separated into cyan (b), magenta desktop digital printing different shades are created using (c), yellow (d) and black (e), which correspond to the inks of the printer. ‘simulated halftones’. Book resources at: www.adv-elements.com

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This process breaks each section of the image into minute grids. Then as part of the separation process, the printerâ&#x20AC;&#x2122;s software will determine the tone of each image part and decide how to best balance the amount of white space and ink dots in the grid in order to simulate this tone. Sound confusing? Well letâ&#x20AC;&#x2122;s use a simple example. We are printing a black and white picture with a printer capable of ďŹ ve levels of tone: t 8IJUF t -JHIU HSBZ HSBZ t .JE HSBZ HSBZ t %BSL HSBZ HSBZ BOE t #MBDL CMBDL We are using black ink only. Letâ&#x20AC;&#x2122;s say that one part of the image is represented by a grid of two dots by two dots. If this part of the picture was supposed to be white then the software would print no dots in the grid. If the area was light gray then one dot (out of a possible four) would be printed. If the image was a midtone then two dots would be printed. If the shade was a little darker then three dots would be laid down and ďŹ nally if this part of the photograph was black then all parts of the grid (that is, all four dots) would be printed.

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Simulated tones >> Digital printers represent tones in a similar fashion using small grids containing areas of ink color and sections where the paper shows through. (a) White. (b) 25% gray. (c) 50% gray. (d) 75% gray. (e) Black.

Keep in mind that modern photographic inkjet printers are capable of many more levels of tone than the ďŹ ve used in our example. Also remember that different colored dots are being laid

Color from dots >> The separate colors are laid down on the paper surface in the form of minute dots which, when seen at a distance, mix together to simulate all the other colors in the photograph.

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Tones from dots >> The tones in an image are also represented by a series of dots on paper. In the darker areas more ink is used so that less paper shows through. Lighter tones have smaller dots and more paper.

down at the same time. In this way both simulated tone and color are created by drawing the picture with a series of dots using a small set of printing inks. The fact that all the current crop of desktop printers handle this type of separation and the creation and application of the dots with such precision and speed is nothing short of a technological miracle. Now let’s look at the three main desktop printing technologies in turn.

The inkjet printer $PTUJOH BT MJUUMF BT 64 UIF JOLKFU QSJOUFS QSPWJEFT UIF DIFBQFTU XBZ UP FOUFS UIF XPSME PG desktop printing. The ability of an inkjet printer to produce great photographs is based on the production of a combination of ﬁneness of detail and seamless graduation of the color and tone. The machines contain a series of cartridges ﬁlled with liquid ink. The ink is forced through a set of tiny print nozzles using either heat or pressure. Different manufacturers have slightly different Book resources at: www.adv-elements.com

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The most sophisticated printers from manufacturers such as Canon, Epson and Hewlett Packard also have the ability to produce ink droplets that vary in size. This feature helps create the ďŹ ne detail in photographic prints. Most photographic quality printers have very high SFTPMVUJPO BQQSPBDIJOH EPUT QFS JODI XIJDI FRVBUFT UP QJDUVSFT CFJOH DSFBUFE XJUI WFSZ TNBMM JOL ESPQMFUT 5IFZ BMTP IBWF PS FWFO EJGGFSFOU JOL DPMPST FOBCMJOH UIFTF NBDIJOFT to produce the highest quality prints. These printers are often more expensive than standard models but serious photographers will value the extra quality they are capable of. Printers optimized for business applications are often capable of producing prints faster than the photographic models. They usually only have three colors and black, and so do not produce photographic images with as much subtlety in tonal change as the special photo models. One of the real advantages of inkjet printing technologies for the digital photographer is the choice of papers available for printing. Different surfaces (gloss, semi-gloss, matt, iron-on transfer, metallic, magnetic and even plastic), textures (smooth, water color and DBOWBT UIJDLOFTT GSPN HTN UP HTN BOE TJ[FT " " Y JODI Y inch, Panorama and even roll) can all be fed through the printer. This is not the case with laser printing, where the choice is limited in surface and thickness, nor Dye Sublimation printing, where only the specialized paper supplied with the colored ribbons can be used.

Simulated tones >> The best photographic printers contain the standard four colors plus light versions of black, cyan and magenta to help create truer colors and smoother graduation of tones. (a) Black. (b) Light or Photo black. (c) Cyan. (d) Light cyan. (e) Magenta. (f) Light magenta. (g) Yellow.

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systems but all are capable of producing very small droplets of ink (some are four times smaller than the diameter of a human hair!). The printer head moves back and forth across the paper laying down color whilst the roller mechanism gradually feeds the print through the machine. Newer models have multiple sets of nozzles which operate in both directions (bi-directional) to give faster print speeds.

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Laser Though most laser printers you see are used for black and white business prints more and more are capable of producing good quality color output. These devices use a modiﬁed version of photocopier technology to produce their crisp hard-edged prints. They work by drawing the image or text to be printed onto a photo-sensitive drum using either a laser or a series of LEDs (light emitting diodes). This process changes the electromagnetic charge on the drawn sections of the drum. The drum Laser printers >> Laser printers use photocopier-type technology to produce crisp is then passed by a dispenser and the oppositely output. Some models can even produce full charged toner (the ‘ink’ used by laser printers) is color prints. attracted to the drum, which then is passed by electrostatically charged paper where the toner is deposited. Color laser printers use four different drums for each of the separation colors – cyan, magenta, yellow and black. The strengths of laser printers are their speed, cost per printed page and the sharp-edged clarity of the prints they produce. For businesses that regularly produce short runs of color brochures a color laser may be a cost-effective alternative to printing outside, but for the dedicated digital photographer, inkjet printers provide a cheaper way to produce photographic quality prints.

Dye Sublimation Where laser and inkjet technology printing prowess is based on the creation of tone and color via discrete dots, Dye Sublimation printers use a different approach. Often called a continuous tone printing system, ‘Dye Sub’ machines create prints by laying down a series of overlapping transparent dyes to build up the picture. Expensive when the technology was ﬁrst released, these printers have gained more popularity as newer models have dropped in price and increased in speed and image quality. Rather than using a set of inks, color is added to the picture using a heating element to transfer dye from cyan, magenta, yellow and, in some machines, black ribbons onto a specially treated paper.

Dye Sublimation printers >> Dye Sublimation printers use a multi-colored donor ribbon which is heated to transfer the color to a special receiving paper.

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The dyes are layered on a full paper size ribbon and each color is added in turn. With some machines a protective clear coating is also applied at the last stage in the process. Accurate registration is critical throughout the whole printing process.

Other printing processes Though less well known, the following processes are also being used to produce photo images: Thermal wax transfer â&#x20AC;&#x201C; Initially designed for use in the graphic design and printing industries this technology uses very small heating elements to melt and transfer color wax from donor sheets onto the printing paper. These printers produce very strong and vibrant colors but sometimes struggle to create truly photographic prints. Pictrography â&#x20AC;&#x201C; Developed by Fuji, this system uses a three-color laser (red, green and blue) to ESBX UIF QJDUVSF POUP B EPOPS QBQFS BU B SFTPMVUJPO PG BCPVU EQJ 5IF EPOPS QBQFS JT UIFO placed in contact with a printing paper and the image transferred using heated water. The ďŹ nal print is very similar to standard photographic paper. Offset lithography â&#x20AC;&#x201C; Used for printing newspapers and magazines. Typically a color image is separated into the standard four base colors (CMYK) and a halftone version of the image created at the same time. This produces four separate versions of the picture, one for each color, which are used to create four different printing plates. The color inks (called process colors) are applied to each plate and the printing paper is fed past each plate with the ink being laid down in registration.

Inkjet media >> One advantage of creating your photographs with an inkjet machine is the large range of paper stocks available for printing.

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The dyes are absorbed into the paper surface leaving a slightly blurred edge which blends with adjacent colors and tones. This gives the image a continuous tone (non-dotty) appearance at SFMBUJWFMZ MPX SFTPMVUJPOT EQJ DPNQBSFE UP JOLKFU UFDIOPMPHZ FRVJWBMFOUT

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Image resolution vs printer resolution "T XF IBWF BMSFBEZ TFFO GSPN PVS EJTDVTTJPOT JO $IBQUFS UIF USVF EJNFOTJPOT PG BOZ EJHJUBM m MF are measured in pixels, not inches or centimeters. These dimensions indicate the total number of samples that were made to form the ďŹ le. Itâ&#x20AC;&#x2122;s only when an imageâ&#x20AC;&#x2122;s resolution is chosen that these dimensions will be translated into a print size that can be measured in inches or centimeters. The image resolution determines how the digital information is spread over the print surface. *G B TFUUJOH PG EQJ JT DIPTFO UIFO UIF QSJOU XJMM VTF pixels for each inch that is printed. *G UIF JNBHF JT QJYFMT XJEF UIFO UIJT XJMM SFTVMU JO B QSJOU UIBU JT JODIFT XJEF *G UIF JNBHF SFTPMVUJPO JT TFU UP EQJ UIFO UIF SFTVMUBOU QSJOU XJMM POMZ CF JODIFT XJEF CFDBVTF UXJDF BT many pixels are used for every inch of the print. For this reason the same digital ďŹ le can have many different printed sizes. With this in mind, the following table shows the different print sizes possible when the same picture is printed at different resolutions:

Pixel dimensions:

Print size at 100 ppi:

Print size at 200 ppi:

Print size at 300 ppi:

640 x 480 pixels

6.4 x 4.8 inches

3.2 x 2.4 inches

2.1 x 1.6 inches

1440 x 960 pixels

14.4 x 9.6 inches

7.2 x 4.8 inches

4.8 x 3.2 inches

1600 x 1200 pixels

16 x 12 inches

8.0 x 6.0 inches

5.3 x 4 inches

1920 x 1600 pixels

19.2 x 16 inches

9.6 x 8 inches

6.4 x 5.3 inches

2304 x 1536 pixels

23 x 15.4 inches

11.5 x 7.7 inches

7.6 x 5.1 inches

2560 x 1920 pixels

25.6 x 19.2 inches

12.8 x 9.6 inches

8.5 x 6.4 inches

3000 x 2000 pixels

30 x 20 inches

15 x 10 inches

10 x 6.6 inches

Printer resolution refers to the number of ink droplets placed on the page per inch of paper. .PTU NPEFSO QSJOUFST BSF DBQBCMF PG VQ UP EPUT QFS JODI 5IJT WBMVF EPFT OPU SFMBUF UP UIF image resolution discussed above. It is a measure of the machineâ&#x20AC;&#x2122;s performance not the spread of picture pixels. Keep in mind that different printing technologies have different optimum resolutions. For example, perfectly acceptable photographic images are produced PO %ZF 4VCMJNBUJPO NBDIJOFT XJUI B QSJOUJOH SFTPMVUJPO BT TNBMM BT EQJ whereas the same appearance of photographic quality may require a setting of EQJ PO BO JOLKFU NBDIJOF Book resources at: www.adv-elements.com

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Step 1 >> With your image open in Elements select Print from the File menu.

Step 2 >> Select the printer that you want to use from the drop-down list displayed in the Print dialog or via Page Setup and Printer buttons.

Step 3 >> Choose the media type and Quality mode from the main section of the printer driver.

Step 4 >> Check that the paper size and source are correctly set in the Paper section of the printer driver. Click OK.

Step 5 >> As a ﬁnal step adjust the size of the photo on the page using the corner handles in the preview. Be careful though as increasing the size of the photo here reduces image quality by printing at a lower resolution.

13.01 Basic steps Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Basic Related techniques – 13.04–13.08 Menus used – File

Let’s revisit the basic steps used in printing from Elements before introducing some advanced techniques that will really help you to produce top quality images from your desktop printer. Make sure that your printer is turned on and your image is open in Elements. Select the Print option from the File menu (File > Print). If your print was too big for the page in earlier versions of the program then a Clipping Warning will appear indicating that part of your image will be truncated if you proceed. You could choose to squeeze the picture onto the paper by checking the Scale to Fit Media box, click preview

Print Clipping Warning >> The Print Clipping Warning appears when your image is too big for the default paper size set for your printer.

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to take you directly to the Print Preview dialog or select OK to continue printing the trimmed image. This will open up the printerâ&#x20AC;&#x2122;s control panel, often called the Printer Driver dialog. The type and style of dialog that you see will be determined by the printer manufacturer and model that you own. Here I have shown a dialog box or printer driver typical for Epson machines.

A little more sophistication 5IBOLGVMMZ JO WFSTJPOT BOE PG 1IPUPTIPQ &MFNFOUT UIF XIPMF QSPDFTT IBT CFFO TJNQMJm FE Now choosing the File > Print option takes you directly to the Print Preview option. With this dialog you preview your picture as it will appear on the printed page. This thumbnail snapshot of picture on page means that problems with sizing and picture orientation are immediately obvious. You can choose to let the program adjust the picture size to suit the paper automatically by employing the Scale to Fit option you can manually position and size the image. Simply deselect the Scale to Fit and Center Image options and choose the Show Bounding Box feature. Now you can drag the picture around the paper surface and scale the printed image using the corner handles in the thumbnail. To adjust paper size and orientation or change the printer you are using to output your image select the Page Setup button and input the values you require in the Page Setup dialog.

Print Preview >> The Print Preview dialog provides a more comprehensive and visual approach to adjusting printing variables than what was available with the Print command in previous versions. (a) Preview image on paper. (b) Image position. (c) Image size. (d) Color Management selection. (e) Printer preferences. (f) Page Setup dialog. (g) Print Multiple Photos dialog.

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Basic settings All the basic printer settings are controlled via the Printer Driver dialog. This is different for each printer model but generally contains similar controls (even if they are named slightly differently). Check to see that the name of the printer is correctly listed in the Name box. If not, select the correct printer from the drop-down menu. Click on the Properties button and choose the ‘Main Tab’. Select the media type that matches your paper, the Color option for photographic images and Automatic and Quality settings in the mode section. These options automatically select the highest quality print settings for the paper type you are using. Click OK. Select the Paper tab to alter the paper size and its rotation. Also nominate if the paper is being loaded from the sheet feeder or via a roll. Click OK. Select the Main tab once more and input the number of copies you want to print. Click OK to start the print process. Depending on the size of your picture and the quality of the print this part of the process can take a few minutes before you will see any action from the printer.

PIM and EXIF Print ? Print command >> The Print command located in previous versions of Elements provided a basic set of options that allow you to select your printer and adjust its settings (via the Properties button). Epson printer users will ﬁnd two extra options in the Print dialog (detailed above) when outputting their JPEG photos from the Photo Browser workspace. Called PIM (PRINT Image Matching) and Exif Print, enabling these options when printing will generally provide better results than when they are left unchecked. Both these technologies aim to match the photo picture characteristics more closely with the printer’s abilities. These print options are lost when photos are edited outside the Photo Browser in either the Standard or Quick Fix Editor workspaces.

When the File > Print option is selected in Photoshop Elements 6 the Print Preview dialog is displayed. (a) Printer selection. (b) Printer Properties dialog. (c) Media type (paper type). (d) Printing mode. (e) Number of prints.

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The Print Preview feature also provides the option for users to better control the way that Elements communicates how the colors in the picture will output to the printer. The Color Management section which used to be displayed via Show More button is now always on display. Here you can select the precise color profile to use when printing. Most photo-quality printers now include generic profiles that are copied to your system when you install your printer drivers. To ensure the best color reproduction from your printer select the precise profile for your model from the drop-down list. With the color management, paper size and orientation as well as image size and position set, pressing the Print button will start the output process.

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13.02 Creating contact sheets Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Related techniques â&#x20AC;&#x201C; 13.03 Menus used â&#x20AC;&#x201C; File

With the one simple Contact Sheet command Elements can create a series of small thumbnail versions of photos in a catalog or those that were multi-selected before opening the tool. These small pictures are automatically arranged on pages and labelled with their ďŹ le names. From there it is an easy task to print a series of contact sheets that can be kept as Contact sheets >> Create prints of thumbnail versions of your images using the Contact Print feature in Elements. a permanent record of the folderâ&#x20AC;&#x2122;s images. The job of selecting the best pictures to manipulate and print can then be made with hard copies of your images, without having to spend the time and money to output every image to be considered. This is a real bonus for digital photographers as it provides a quick tactile record of their dayâ&#x20AC;&#x2122;s efforts. &MFNFOUT BOE DPOUBJOT B WFSTJPO PG UIF GFBUVSF UIBU JT QBSU PG UIF Print Multiple Photos dialog and is easier to use than the File > Contact Sheet II version that was found in earlier versions of the program.

Step 1 >> From the Editor open the images to be printed, otherwise multi-select the pictures from inside the Photo Browser. Select File > Print and choose Contact Sheet from the Select Type of Print menu.

Step 2 >> Use the Add and Remove Photos buttons to adjust the list of pictures to be included. Select the printer from the drop-down list in section 1 of the dialog and adjust the hardware settings by clicking the Printer Preferences button.

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Step 3 >> In the ďŹ nal section (3) choose the number of columns to use (and therefore the total number of thumbnails to place on a single sheet) and select the content of the label text to be included. Click Print to output the contact sheet.

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13.03 Multiple prints on a page Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Basic | Related techniques â&#x20AC;&#x201C; 13.02 | Menus used â&#x20AC;&#x201C; File

The Picture Package option extends the contact sheet idea by allowing you to select one of a series of predestined multi-print layouts that have been carefully created to ďŹ t many images neatly onto a single sheet of standard paper. Previously located in the Print Layouts section of the File menu where the Contact Sheet command was also placed, the revamped Picture Package has now been integrated into the Print Multiple Photos dialog. Macintosh users can access the feature via the File menu in the Editor or under the Automate menu in the ďŹ le browser. There are designs that place multiples of the same size pictures together and those that surround one or two larger images with many smaller versions. The feature provides a preview of the pictures in the layout. You can also choose to repeat the same image Picture Package >> As well as the Contact throughout the design by selecting the One Picture Sheet feature the Picture Package option also provides the ability to print multiple images of per Page option. There is no option to add labels as different sizes on the one sheet of paper. UIFSF XBT JO WFSTJPO PG UIF GFBUVSF CVU ZPV DBO select a frame from one of the many listed to surround the photos you print. Whichever layout and frame design you pick, this feature should help you to keep both family members and football associates supplied with enough visual memories to make sure they are happy.

Step 1 >> Open images in the Editor or multi-select pictures in the Photo Browser. Select Editor: File > Print Multiple Photos or Photo Browser: File > Print and then Picture Package. Use the Add and Remove Photos buttons to adjust the list of pictures to be included in the contact sheet.

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Step 2 >> Drag the photos to alter the layout. Add more pictures from the ďŹ lm strip by dragging them to the preview area. Select the printer from the drop-down list. Click the Printer Preferences button to adjust the hardware settings.

Step 3 >> In the ďŹ nal section choose the Layout and Frame design to be included. To repeat a single image on a page click the One Photo per Page option. To add many different pictures to the same page leave this item unchecked. Click Print to output the Picture Package pages.

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Ensuring color consistency between devices One of the biggest problems faced by the digital photographer is matching the color and tone in the scene with what they see on screen and then with what is output as a print. This problem comes about because when working digitally we use several different devices to capture, manipulate and output color photographs – the camera, or scanner, the monitor or screen, and the printer. Each of these pieces of hardware sees and represents color in a different way. The camera converts a continuous scene to discrete digital tones/colors, the monitor displays a full color image on screen using phosphors or ﬁltered LCDs and the printer creates a hard copy of the picture using inks on paper. One of the earliest and most complex problems facing manufacturers was ﬁnding a way to produce consistent colors across all these devices. As many readers will attest too, often what we see through the camera is not the same as what appears on screen, which in turn is distinctly different to the picture that prints. These problems occur because each device can only work with a small subset of all the possible colors. This set is called the color gamut of the machine. As the gamut changes from device to device so too does the range of colors in the picture. For example, the range of tones and colors the camera recorded may not be visible on screen and the detail that can be plainly seen on the monitor may be outside the capabilities of the printer.

Color and digital devices >> The devices used to capture, process and output color pictures all respond to color in a different way. Each piece of hardware is only capable of working with a subset of all possible hues. This range of colors is called the device’s color gamut. (a) Camera gamut. (b) Screen gamut. (c) Printer gamut. Graph images generated in ICCToolbox, courtesy of www.icctools.com.

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Color gamut >> The difference between the gamuts of different devices can lead to photographers not being able to match what they see on screen with printer output. (a) All visible colors. (b) Screen colors. (c) Printable colors.

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Graph generated in ICCToolbox, courtesy of www.icctools.com.

Add to this scenario the fact that if I send the same image to three of my friends it will probably appear differently on each of their screens. On one it may be a little contrasty, on another too blue and on the last screen it could appear overexposed. Each of the monitors is interacting with the digital file in a slightly different way. So with all these complexities are digital photographers condemned to poor color consistency? The answer is a resounding NO! Through the use of a color-managed system we can maintain predictable color throughout the editing process and from machine to machine. Essentially color management is concerned with describing the characteristics of each device in the editing chain. This description, often called an ICC profile, is then used to translate image detail and color from one device to another. Pictures are tagged, when they are first created, with a profile and when downloaded to a computer, which has a profiled screen attached, the image is translated to suit the characteristics of the monitor. With the corrections complete the tagged file is then sent to the printer, where the picture is translated, again to suit the printer’s profile. A similar scenario occurs when viewing files on different machines. As the picture is passed around, the profile for each monitor translates and accounts for individual hardware and color changes. The result is a picture that appears very similar on all devices. Pro’s Tip: To ensure that you get the benefits of color management at home, be sure to turn on color management features for your camera, scanner, monitor, software and printer. Always tag your files as you capture them and then use this profile to help keep color consistency as you edit, output and share your work. Book resources at: www.adv-elements.com

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Color-managed workﬂows >> When color management is not used the same digital photograph can display differently on different screens (a). When a tagged picture is displayed on several proﬁled monitors in a color-managed environment the image will appear similar despite the different characteristics of each computer and screen set up (b).

Color management and printing

CAPTURE

Color-managed capture – When shooting we should make sure that any color management or ICC profile settings in the camera are always turned on. This will ensure that the pictures captured will be tagged with a profile. Those readers shooting film and converting to digital with scanners should search through the preference menus of their scanners to locate, and activate, any inbuilt color management systems here as well. This way scanned pictures will be tagged as well.

EDIT & ENHANCE

Color-managed manipulation – When setting up Elements we should make sure that one of the color management options is selected in the Color Settings dialog of the program. This ensures that tagged pictures coming into the workspace are correctly interpreted and displayed ready for editing and enhancement. It also guarantees that when it comes time to print, Elements can correctly translate your on-screen masterpieces into a format that your printer can understand.

OUTPUT

So how does color management impact on our printing workﬂow? Well as we have already seen when dealing with resolution, so much of how we start the digital process determines the quality of our outcomes. Color management is no different in this respect. It is a fact that the digital photographer who considers color management at the point of shooting (or scanning), and then again when editing, will output better quality (and more predictable) printed images than one who doesn’t. So at each stage of the digital process – capture, manipulation (editing) and output – your pictures should be color managed.

Color-managed output – The final step in the process is the printer and it is critical, if all your hard work to this point is going to pay off, that you load and use the printer’s profile in the Print Preview > Show More Options settings. This step means that the tagged file exiting Elements will be accurately translated into the colors and tones that the printer is capable of creating. Think of the whole system as a chain. The strength of your color management and therefore the predictability of the process is based on both the integrity of the individual links and their relationship to each other. The ICC profiles are the basis of these relationships. They ensure that each device knows exactly how to represent the color and tones in an image. Book resources at: www.adv-elements.com

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Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Related techniques – 13.05, 13.06, 13.07, 13.08 | Menus used – File

Now that I have convinced you that a color-managed system has distinct quality advantages over a ‘hit and miss’ non-managed approach, you will, no doubt, be eagerly wanting to make sure that you are working this way at home. So here are the steps that you will need to follow to put in place a full ICC proﬁle color-managed system for capture, manipulation and print.

Scanners and cameras Start by searching through the manuals for your digital camera and scanner to find references for ‘Changing Color Spaces’ or ‘Tagging your Scanned File’. Most cameras automatically tag the images they make with the sRGB ICC profile. Even if there is no mention of attaching profiles to pictures in the camera documentation, don’t assume that the file is being imported without a profile. It may be that this function is occurring in the background and that your particular camera does not offer the facility to change or manipulate the camera’s color profile. To check to see if your pictures are tagged, open the file in the Elements Editor and click the sideways arrow at the left of the status bar (at the bottom of the picture window) to reveal a flyout menu. Choose the Document Profile option from the list. Now to the left of the arrow you will see the profile name attached to your file. If the picture is not tagged then it will be labelled ‘Untagged RGB’. Alternatively, you can also display the profile as part of the Info palette (Editor: Window > Info) by selecting the setting from the More Options button. Some more expensive cameras contain the ability to alter the default profile settings, allowing the user to select different color spaces. For the moment just make sure that the camera is attaching a profile to your images. We will discuss ‘which profiles are best to use when’ later in this chapter.

Checking profiles in Elements >> Use the Document Profile option in the Info palette on the document’s status bar to check what profile is attached to your pictures.

Do the same type of investigation for your scanner. Unfortunately you will probably ﬁnd that most Book resources at: www.adv-elements.com

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13.04 Setting up a color-managed workﬂow

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entry level scanners don’t seem to have color proﬁle options, but this situation is changing. Many more budget models are ‘proﬁle aware’ so make sure you search the preferences part of your scanner driver carefully to ensure that all color management options are turned on.

Step 1 >> The color settings, for cameras with this option, can usually be found in the Set Up or Preferences menu.

Step 2 >> For example, Nikon D100 users can access these settings via the Color Mode option located in the Shooting Menu.

Step 3 >> In this menu Nikon provides three options for attached color spaces.

Step 1 >> Look for the area of your scanner driver that contains the settings for attaching profiles to your scans.

Step 2 >> Once in the settings or preference area locate the Color Settings defaults.

Step 3 >> Activate the scanner’s Color Management features and then select the proﬁle to attach.

Monitors and screens Now let’s turn our attention to our screen or monitor. Most manufacturers these days supply a general ICC profile for their monitors that installs with the driver software when you first set up your screen. The default profile is generally the sRGB color space. If you want to check what profile is set for your monitor then Windows users will need to view the options in the Advanced settings of the Display control panel. If you are working on a Mac computer using OSX then you will find a similar group of settings in the Color section of the Display control panel which is located in the System Preferences. At this stage, simply ensure that there is a profile allocated for your screen. In the following techniques I will show you how to create specific profiles for your screen using either the monitor calibration utility that comes with Elements, Adobe Gamma, or using a hardware tool called a Spyder. Book resources at: www.adv-elements.com

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Checking monitor profiles >> Windows users can check the profile that is being used for the monitor via the Settings > Color Management section of the Display control panel. Mac OSX users will locate the default monitor profile in the Color section of the Display control panel.

Step 1 >> Windows users should select the Control Panel option from the Start menu.

Step 2 >> Click on the Display icon from those listed.

Step 3 >> Select the Settings tab and then the Advanced settings. Click Add to install a new proﬁle.

Image editing program – Photoshop Elements In previous versions of the program Elements offered three options for color management – No color management, Limited color management and Full color management. Users could nominate the option that they wished to use for an editing session by clicking on a Radio button in the Color Settings dialog (Edit > Color Settings). To use a fully managed workﬂow you needed

Checking Elements’ color management >> You can check the Color Management settings for Elements by selecting the Color Settings option from the Edit menu. Users of versions 1.0, 2.0 and 3.0 have three options.

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to pick the Full color management option as this is the only choice that made use of a complete ICC proďŹ le workďŹ&#x201A;ow. 'SPN WFSTJPO PG &MFNFOUT "EPCF SFWBNQFE UIF DPMPS NBOBHFNFOU TZTUFN UP NBLF JU FBTJFS UP understand and more logical to use. You now have four options to choose from in the Color Settings dialog. In addition to these settings you also have the ability to change the proďŹ le attached to your photo or even remove it totally.

Color management options >> Elements 4.0 introduced new color management options including clearer options in the Color Settings dialog and the ability to switch the proďŹ les attached to photos.

To ensure that Elements is operating with a color-managed workďŹ&#x201A;ow think about how you would normally view your work and then choose between Screen Optimized and Print Optimized options. If you need image-by-image control over what proďŹ le is used then select the Allow Me To Choose setting.

New Options for Color Settings No Color Management â&#x20AC;&#x201C; This option leaves your image untagged, deletes attached proďŹ les when opening images and doesnâ&#x20AC;&#x2122;t add a proďŹ le when saving.

Always Optimize For Printing â&#x20AC;&#x201C; Attaches AdobeRGB to photos without a proďŹ le and uses AdobeRGB as the working space but maintains any attached proďŹ les when opening images.

Always Optimize Colors For Computer Screens â&#x20AC;&#x201C; Attaches sRGB to photos without a proďŹ le and uses sRGB as the working space but maintains any attached proďŹ les when opening images.

Allow Me To Choose â&#x20AC;&#x201C; Maintains all attached proďŹ les but allows the user to choose between sRGB and AdobeRGB when opening untagged ďŹ les (Editor workspace only).

Missing ProďŹ le >> When opening an untagged ďŹ le after ďŹ rst having selected the Allow Me To Choose option in the Color Settings a new Missing ProďŹ le dialog is displayed. Here you can choose which proďŹ le is attached to the photo.

Assigning rather than converting proďŹ les Selecting one of the options in the Image > Convert Color ProďŹ le menu will convert the pictureâ&#x20AC;&#x2122;s color to the selected color space. However, if you press Ctrl when selecting a new proďŹ le, it will apply the proďŹ le without converting. This gives the image the appearance that it has been converted but maintains the underlying colors of the original. This option is the same as Photoshopâ&#x20AC;&#x2122;s Assign ProďŹ le command. Book resources at: www.adv-elements.com

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5IF UXP DPMPS TQBDF PQUJPOT BWBJMBCMF JO 1IPUPTIPQ &MFNFOUT BSF XJEFMZ VTFE JOEVTUSZ standards. AdobeRGB encompasses a range of colors (color gamut) that more closely matches the characteristics of both desktop and commercial printers, whereas sRGB is a proďŹ le that is very closely aligned with the gamut of the average computer screen. Choosing which proďŹ le to use as your standard will depend largely on what will be the ďŹ nal outcome of the majority of your work.

Printer The photo quality of desktop printers is truly amazing. The ďŹ ne detail and smooth graduation of vibrant colors produced is way beyond my dreams of even just a few short years ago. As the technology has developed, so too has the publicâ&#x20AC;&#x2122;s expectations. It is Step 1 >> To set up the color manStep 2 >> Choose Always Optimize for Printing from the options listed not enough to have colorful prints; agement options for Elements choose Color Settings from the Edit for a print-based ICC-managed now the digital photographer menu. workďŹ&#x201A;ow. wants these hues to be closely matched with what is seen on screen. This is one of the reasons why a lot of printer manufacturers are now supplying generic, or â&#x20AC;&#x2DC;cannedâ&#x20AC;&#x2122;, printer proďŹ les. Using such proďŹ les at the time of printing greatly increases the predictability of your output. To check that you have a printer proďŹ le installed on your system open the Color Management section of the printer driver and search the list of installed proďŹ les for one that matches your machine. If one is not listed then check the manufacturerâ&#x20AC;&#x2122;s website for the latest drivers or proďŹ le updates. The general nature of these proďŹ les means that for most pictures, on most surfaces, you will get a good result, but for the best prints you will need a different set up for each paper stock that you use. Some manufacturers provide matched proďŹ les for all the media they supply, which makes the job of choosing a suitable proďŹ le much easier. Later in this chapter I will show you how to customize your printerâ&#x20AC;&#x2122;s output speciďŹ cally for output on different speciality papers.

Step 1 >> To check to see if you have a printer proďŹ le installed, open a picture in Elements and then select Print from the File menu.

Step 2 >> Select the Photoshop Elements Manages Color option in the Handling section of the dialog to display the printer proďŹ le settings.

Step 3 >> Click the down arrow in the Printer ProďŹ le section of the dialog and locate your printer proďŹ le.

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13.05 Calibrating your screen â&#x20AC;&#x201C; ColorVision Spyder Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate Related techniques â&#x20AC;&#x201C; 13.04â&#x20AC;&#x201C;13.08 | Tools used â&#x20AC;&#x201C; ColorVision Spyder

The proďŹ le that is included with your screen drivers is based on the average characteristics of all the screens produced by the manufacturer. Individual screens will display slightly different characteristics even if they are from the same manufacturer and are the same model number. For this reason most professionals calibrate their screens with a combined hardware/software solution like the well-known Spyder from ColorVision (www.colorvision.com). Like the old Adobe Gamma utility that used to ship with Elements, the system will calibrate your screen so you can be sure that the images you are viewing on your monitor have accurate color, but unlike the Adobe Gamma this solution does not rely on your eyes for calibration accuracy. Instead the ColorVision option uses a seven-ďŹ lter colorimeter attached to the screen during the calibration process. This piece of hardware samples a range of known color and tone values that the software displays on screen. The sampled results are then compared to the known color values, the Corrected monitor curves >> ColorVisionâ&#x20AC;&#x2122;s Spyder2 provides a combined hardware and software solution difference calculated and this information is then that measures the inconsistency in a monitorâ&#x20AC;&#x2122;s display used to generate an accurate ICC proďŹ le for the screen. and creates correction curves to account for it. (a) Uncalibrated curves. (b) Corrected red, green and Unlike the Adobe Gamma approach this method does blue curves. require the purchase of extra software and hardware but it does provide an objective way for the digital Target settings for QIPUPHSBQIFS UP DBMJCSBUF UIFJS TDSFFO 5IF $PMPS7JTJPO 4QZEFS TZTUFN general digital works with both CRT (standard) and LCD (ďŹ&#x201A;at) screens.

photography:

In previous versions of the program the calibration process contains two steps handled by two separate utilities: PreCAL, which is used to set the white and black points of your screen as well as balance the red, green and blue components of the display, and OptiCAL, designed to calibrate the screen and create a monitor proďŹ le that will ensure that colors and tones will be displayed accurately. In the latest release these steps have been combined into a single step-bystep wizard.

Before you start... 1. Set the screen to 24-bit color and a resolution of at least 640 x 480 pixels or greater and ensure that the screen has warmed up for at least 30 minutes. 2. Make sure that you know how to change the Color, Contrast and Brightness settings of your monitor. This may be via dials or on-screen menus. 3. Ensure that no light source is shining on the screen during the calibration process. 4. Once the calibration process has started donâ&#x20AC;&#x2122;t move the on-screen calibration window.

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Color temp. â&#x20AC;&#x201C; 6500 Gamma â&#x20AC;&#x201C; 2.2 (Windows) Gamma â&#x20AC;&#x201C; 1.8 (Mac)

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Step 2 >> Now select the target color temperature and gamma from those listed in the drop-down menu.

Step 3 >> Choose the Luminance mode between Visual (single screen) and Measured (multiple screens).

Step 4 >> Review the Target Display settings to check that they are correct.

Step 5 >> Indicate which controls are present on the monitor.

Step 6 >> Return all settings to their factory default. Check with the monitor manual for instructions.

Step 7 >> Check that four separate white blocks can be seen in the scale. Adjust with the contrast control.

Step 8 >> Check that four separate black blocks can be seen in the scale. Adjust with the brightness control.

Step 9 >> Choose the way that the monitor adjusts color from the three options listed.

Step 10 >> Attach the Spyder and check to see that it is set up correctly for your screen type.

Step 11 >> Attach the Spyder to the monitor ensuring no other light sources are reﬂecting on screen.

Step 12 >> The sensor will initialize and then several colors will be displayed and tested.

Step 13 >> Adjust the individual Red, Green and Blue controls to balance the screen color.

Step 14 >> Press the Continue button and let the Spyder read the color and tone swatches displayed.

Step 15 >> When the program is ﬁnished, save the new proﬁle.

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Step 1 >> Start by selecting the display type that needs calibrating. Here I have chosen an LCD screen.

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Getting intimate with your printer With the screen now well and truly calibrated and our scanner, camera and printer all ICC profiled terrific prints should be certain to follow, and in most cases this is true. But despite the use of a fully profiled system there are still those annoying occasions where the print doesn’t meet our expectations. As long as you keep to standard papers and paper surfaces these occasions won’t be too frequent, but the more that you experiment with different paper types and finishes the more you will be presented with unexpected results. The culprit is the generic print profile supplied with your machine. By definition it is designed to provide good results with average images, surfaces and paper types. For those of you who want a little more than ‘average’ results you can fine-tune your printer profile for different paper and surface types. As was the case with screens, here too we have a couple of different approaches. The first makes use of the extra color controls hidden away in the printer driver to modify your output and the second uses another ColorVision hardware/software solution to create separate print profiles for each paper type and surface that you use.

13.06 Calibrating your printer – resolution, color, tone and sharpness tests Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web text images 13.07-1, 13.07-2 | Related techniques – 13.04–13.08

Good prints are made from good images and, as we know from previous chapters, digital image quality is based on high image resolution and high bit depth. Given this scenario, it would follow that if I desire to make the best prints possible, then I should at first create pictures with massive pixel dimensions and huge numbers of colors. The problem is that such files take up loads of disk space and, due to their size, they are very, very slow to work with, to the point of being practically impossible to edit on most desktop machines. The solution is to find a balance between image quality and file size that still produces ‘good prints’. For the purposes of this book ‘good prints’ are defined as those that appear photographic in quality and can be considered visually ‘pixel-less’. As we have also seen the quality of all output is governed by a combination of the printer mechanism, the ink set used and the paper, or media, the image is printed on. To find the balance that works best for your printer set up and the various papers that you use, you will need to perform a couple of simple tests with your printer. Quality printing >> Quality printing is based on paper, ink and machine all working together. Changing any of these components can alter the color, shadow, highlight or midtone rendition of the print. For the best control different set ups or profiles are necessary for each of the paper/ ink/printer combinations you work with.

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5IFSF BSF levels of tones in each channel (red, green and blue) of a CJU EJHJUBM JNBHF " WBMVF PG JT QVSF CMBDL BOE B WBMVF PG JT QVSF white. Desktop inkjet machines do an admirable job of printing most of these tones but they do have trouble printing delicate highlight WBMVFT PG CFUXFFO BOE BOE TIBEPX WBMVFT CFUXFFO BOE details. The absorbency of the paper in combination with the inkset and Quality printing >> When using some paper, ink and printer combinations delicate highlight and shadow details are lost. Being the printer settings means that some able to account for these output characteristics makes for better prints. (a) Lost highlights. (b) Lost shadows. machines will be able to print all levels of tones whilst others will only be able to output a smaller subset. Being able to predict and account for lost shadow and highlight tones will greatly improve your overall print quality. To test your own printer/ink/paper set up make a stepped grayscale that contains separate tonal TUSJQT GSPN UP JO BQQSPYJNBUFMZ m WF UPOF JOUFSWBMT "MUFSOBUJWFMZ EPXOMPBE UIF FYBNQMF grayscale from the bookâ&#x20AC;&#x2122;s website (www.adv-elements.com). Print the grayscale using the best quality settings for the paper you are using. Examine the results. In particular, check to see at what point it becomes impossible to distinguish dark gray tones from pure black and light gray values from white. Note these values down for later use as they represent the range of tones printable by your printer/paper/ink combination.

Step 1 >> Download and print the tone-test.jpg image using your favorite settings and paper type.

Step 2 >> Examine the print after 30 minutes drying time to locate the values where you cannot distinguish shadow and highlight detail.

Step 3 >> Input these values as the black and white output points in the Levels dialog when next printing with this paper, ink and printer combination.

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Testing tones

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When you are next adjusting the levels of an image to be printed, move the Output sliders at the bottom of the dialog until black and white points are set to those you found in your test. The spread of tones in your image will now meet those that can be printed by your printer/paper/ink combination.

Step 1 >> Create a high-resolution composite image and print the picture at several different imageresolution settings.

Step 2 >> When complete examine the prints carefully and decide which picture provides the best balance of quality and resolution.

Step 3 >> Use this image resolution as the basis of your prints using this ink, paper and printer combination.

Testing resolution Modern printers are capable of incredible resolution. Some are able to output discrete dots at a SBUF PG BMNPTU QFS JODI .BOZ VTFST CFMJFWF UIBU UP HFU UIF VUNPTU EFUBJM JO UIFJS QSJOUT UIFZ must match this printer resolution with the same image resolution. Although this seems logical, good results can be achieved where one pixel is printed with several printer dots. Thank goodness this is the case, because the result is lower resolution images and therefore more manageable, and smaller, ďŹ le sizes. But the question still remains â&#x20AC;&#x201C; exactly what image resolution should be used? Again a simple test can help provide a practical answer. Create a high-resolution ďŹ le with good TIBSQ EFUBJM UISPVHIPVU 6TJOH *NBHF 3FTJ[F *NBHF 4J[F NBLF B TFSJFT PG QJDUVSFT GSPN EQJ UP EQJ SFEVDJOH JO SFTPMVUJPO CZ B GBDUPS PG FBDI UJNF "MUFSOBUJWFMZ EPXOMPBE the resolution examples from the bookâ&#x20AC;&#x2122;s website. Now print each of these pictures at the optimum setting for your machine, ink and paper you normally use. Next examine each image carefully. Find the lowest resolution image where the picture still appears photographic. This is the minimum image resolution that you should use if you want your output to remain photographic RVBMJUZ 'PS NZ TFU VQ UIJT TFUUJOH WBSJFT GSPN CFUXFFO BOE EQJ * LOPX JG * VTF UIFTF values I can be guaranteed good results without using massive ďŹ le sizes.

Testing color For the majority of output scenarios, using the ICC proďŹ le that came with your printer will provide good results. If you do happen to strike problems where images that appear neutral on screen continually print with a dominant cast then most printer drivers contain an area where individual colors can be changed to eliminate casts. Book resources at: www.adv-elements.com

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Step 1 >> Print a full color test image using the Tonal and Resolution values derived in the two previous tests.

Step 2 >> Assess the color of the dominant cast and with the printer driver open, alter the color settings to remove the cast. Save the settings.

Wayward color casts often occur when non-standard papers are used for printing. The cause can be the base color of the paper itself, the absorbency of the paper or the type of surface being printed upon. Eliminating all-over casts is possible using the Color Adjustment sliders found in the Printer dialog. Determine the exact settings you need for a speciďŹ c paper type by running a series of print tests, carefully adjusting the color settings until the resultant output is cast-free. Save the corrective settings for use whenever you want to output using the same paper, ink and printer combination.

Step 3 >> Reprint the example image using the new color settings. Assess the results and make adjustments if necessary.

Removing color casts with the printer driver >> Use the following guide when customizing the output from your printer using the color sliders in your printer driver: sÂŹ4OÂŹSUBTRACTÂŹREDÂŹFROMÂŹTHEÂŹPRINTÂŹnÂŹADDÂŹCYAN sÂŹ4OÂŹADDÂŹREDÂŹTOÂŹAÂŹPRINTÂŹnÂŹSUBTRACTÂŹCYAN sÂŹ4OÂŹADDÂŹBLUEÂŹTOÂŹAÂŹPRINTÂŹnÂŹSUBTRACTÂŹYELLOW sÂŹ4OÂŹSUBTRACTÂŹBLUEÂŹFROMÂŹAÂŹPRINTÂŹnÂŹADDÂŹYELLOW sÂŹ4OÂŹADDÂŹGREENÂŹTOÂŹAÂŹPRINTÂŹnÂŹSUBTRACTÂŹMAGENTA sÂŹ4OÂŹSUBTRACTÂŹGREENÂŹnÂŹADDÂŹMAGENTAÂŹ

Testing sharpness Often overlooked but deďŹ nitively just as important is the amount of sharpness that is applied to the photo. Unfortunately most image-makers apply a standard degree of sharpening to all their photos irrespective of the ďŹ nal printed size, subject matter and the stock that they will be reproduced upon. And just like other settings when it comes to sharpness, one size deďŹ nitely does not ďŹ t all. To ďŹ nd what works best for your set up, copy an indicative section of you image and duplicate JU TFWFSBM UJNFT BU JO B OFX EPDVNFOU 0QFO UIF "EKVTU 4IBSQOFTT m MUFS TFMFDUJOH FBDI duplicate in turn and ďŹ ltering the picture part using successively more aggressive settings. Note down each of the settings for use later. Now print the test ďŹ le using the same set up that you use for making ďŹ nal prints. Carefully examine the printed results using the same lighting conditions and viewing distance that will be used to display the print and select the best overall sharpness. This part of the process is pretty subjective but most viewers can pick over- and under-sharpened images when confronted with several versions of the same image sharpened to different degrees, Book resources at: www.adv-elements.com

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making the task of selecting the best sharpness much easier. Now to apply the sharpness to the original print photo. Rather than applying the ďŹ lter directly to the document it is best to sharpen a copy and save this duplicate with a name that includes itâ&#x20AC;&#x2122;s intended outcome, i.e. â&#x20AC;&#x2DC;portrait-A3&QTPO TIBSQFOFE

13.07 Calibrating your printer â&#x20AC;&#x201C; ColorVision PrintFIX Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate Related techniques â&#x20AC;&#x201C; 13.04â&#x20AC;&#x201C;13.08 | Tools used â&#x20AC;&#x201C; ColorVision PrintFIX

Want to take your printer calibration one step further? The dream printing set up for most photographers is a situation where they have a proďŹ le created speciďŹ cally for each of their paper, ink and printer combinations. Until recently this way of working has indeed been a dream, as the hardware and software system needed for creating high quality printer proďŹ les could cost XFMM PWFS #VU $PMPS7JTJPO XXX DPMPSWJTJPO DPN OPX QSPEVDFT B NPSF FDPOPNJDBM option designed speciďŹ cally for the digital photographer. Just like the Spyder, ColorVisionâ&#x20AC;&#x2122;s PrintFIX comprises a hardware and software solution that takes the guesswork out of calibrating your printerâ&#x20AC;&#x2122;s output. The process involves three easy steps (illustrated below): (a) Output a set of color test patches from your printer using the ink and paper you want to calibrate, (b) Read the patches using a modiďŹ ed scanner supplied with the system, and (c) Use the supplied calibration utility to generate an ICC printer proďŹ le based on the scanner output. Using this system you can build a complete set of proďŹ les for all the papers that you use regularly. The system saves you time and money by reducing the waste normally associated with getting the perfect print on varying paper stock.

PrintFIX print settings Elementsâ&#x20AC;&#x2122; Print dialog: sÂŹÂŹ3OURCEÂŹ3PACEÂŹ$OCUMENTÂŹnÂŹ$OCUMENT sÂŹÂŹ0RINTÂŹ3PACEÂŹ0ROlÂŹLEÂŹnÂŹTHEÂŹONEÂŹYOUÂŹ create with PrintFIX sÂŹÂŹ0RINTÂŹ3PACEÂŹ)NTENTÂŹnÂŹ3ATURATION

Step 1 >> Select the PrintFIX option from the Automation Tools section of the File menu.

Step 2 >> Choose the Load Calibration Chart option and then select the printer model in the PrintFIX dialog.

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Printer Driver dialog: sÂŹÂŹ#OLORÂŹnÂŹ.OÂŹ#OLORÂŹ!DJUSTMENT sÂŹÂŹ0APERÂŹnÂŹ%NHANCEDÂŹ-ATTEÂŹORÂŹ0HOTOÂŹ Quality Ink Jet

Step 3 >> Input the details into the spaces provided on the test print image.

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Step 4 >> In the Printer Profile menu choose a profile that is the same as the source profile.

Step 5 >> Proceed to the printer driver and choose Photo Quality Ink Jet paper.

Step 6 >> Select ‘No Color Management’ and choose the Print Quality required. Print the test.

Step 1 >> Wait 5 minutes for drying then cut out the test print, insert it in the plastic sleeve and preload it into the scanner.

Step 2 >> Select the PrintFIX option from the Import section of the File menu.

Step 3 >> Set scanner for Color, 400 dpi, 0% Brightness and Contrast, 2 Gamma, 255 Highlight and 0 Shadow. Click Read.

Step 1 >> Use the Cropping tool to isolate the color patches from the rest of the scan.

Step 2 >> Select PrintFIX from the Automation Tools options and select Build Proﬁle.

Step 3 >> Save the ﬁnished ICC printer proﬁle using a name that combines printer, paper and inkset.

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13.08 Making great black and white prints Suitable for Elements – 6, 5.0, 4.0, 3.0, 2.0, 1.0 | Difﬁculty level – Intermediate Resources – Web image 13.9 | Menus used – File

Photography has had a long history of ﬁne black and white print making. Practitioners like the famed Ansel Adams took the craft to dizzy heights, inventing the Zone system along the way. It wasn’t too long ago that digital prints were judged not by their visual quality but by their ability to disguise their pixel origins. Thankfully, shooting and printing technology has improved to such an extent that we are now released from the ‘guess if I’m digital’ game to concentrate on more important things, like making great images. After all, this is the reason that most of us got into photography in the ﬁrst place. But producing high quality black and white prints digitally, even with a fully color-managed system, does have its problems. In my experience making great monochrome prints relies heavily on choosing the right paper and inks to print with.

Choosing paper and inks There is now an incredible range of papers and inks that are suitable for use in desktop printers. The combination you choose will determine the ‘look and feel’ of your prints. One of the first things that screams quality is the type of stock that your images are printed on. Fiber-based papers have always held a special place within the photographic community. Images produced on this type of paper ooze quality and demand respect. Professionals and amateurs alike take a lot of time, and spend a lot of money, choosing the right paper for their photographs. Selecting which paper to use when you are digital printing is no different. Surface, weight and base tint should all be carefully considered and tested before making your final decision. The papers supplied by your printer manufacturer provide the easiest way to obtain predictable and reliable quality output. The surfaces of these papers are often specially designed to work in conjunction with the inks themselves to ensure the best balance of archival stability and image quality. But this is not the limit of your choices; there is a myriad of other papers available from photographic companies such as Kodak and Ilford as well as paper manufacturers like Somerset. Often specialist suppliers will sell you a sample pack containing several paper types so that you can test the papers that work best for you. There are also decisions to be made about the inks to use to make your prints. The cartridges supplied and recommended by your printer’s manufacturer are specifically designed to work in conjunction with your machinery. These Black and white in color >> ink sets provide the quickest way to get great photo-realistic images. When printing a black and But along with standard four- or five-color inksets you now also white image using a standard inkjet printer many have a choice of printers that make use of multiple blacks (black of the gray tones are produced using a plus varying shades of gray) as well as cyan, magenta and yellow combination of colored ink droplets. (CMY). The midtone and light gray inks are used to create the tones in monochrome pictures and replace the colored dots that have previously Book resources at: www.adv-elements.com

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Neutral grays >> Because many of the gray tones in a monochrome print are created with colored dyes it can be almost impossible to produce completely neutral tones throughout the whole of a grayscale when printing with standard ink sets. Neutral grays are possible, however, if the black and white print is produced using a dedicated multiblack ink set.

been employed for the same job. Using this approach, digital photographers can produce the rich and smoothly graduated monochrome output they have preciously created traditionally, without any of the problems of strange and unwanted color casts creeping into their black and white prints.

Why use monochrome inks? Most photo-quality inkjets use the three colored inks as well as black to produce monochromes. Using the four inks (sometimes six – five colors plus black) provides the greatest range of tonal levels. With dot sizes now being so small it is only under the closest scrutiny that the multi-colored matrix that lies beneath our black and white prints is revealed. Balancing the different colors so that the final appearance is neutral is a very tricky task. Too many dots of one color and a gray will appear blue, too few and it will contain a yellow hue. For most users slight color variations are not a problem, but for image-makers with a monochrome heritage to protect, nothing less than perfection is acceptable. Too often the black and white prints produced using a color ink set contain strange color casts. For the most part these errant hues are the consequence of mixing different ink types and paper products and can be rectified with a little tinkering of the printer driver’s color settings or by using a custom-made profile. One paper I use, for instance, continually presents me with magentatinged black and white prints. But as the cast is consistent across the whole of the tonal range, I am able to rid the pictures of this tint by adjusting the Magenta/Green slider in the printer settings. I saved the set up that produced a neutral image and now use it each time I print to this surface. It is not these consistent casts that cause much concern amongst the critical desktop printing fraternity, rather it is the way that some printers produce a different cast for highlights and Book resources at: www.adv-elements.com

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Paper types >> There are many papers on the market that are suitable for inkjet printing. Most can be divided into two groups – ‘coated’ and ‘uncoated’. The coating is a special ink receptive layer that increases the paper’s ability to produce sharp ‘photo-realistic’ results with a wide color gamut and a rich maximum black (high D-max). Uncoated papers can still be used with most printing equipment but changes in the printing set up may be necessary to get good results. Apart from coatings, paper surface is the other major factor that discriminates between paper types. The general categories of surface are: Glossy Photographic – Designed for the production of the best quality photographic images. These papers are usually printed at the highest resolution that your printer is capable of and can produce either ‘photo-realistic’ or highly saturated colors. Matt/Satin Photographic – Papers designed for photographic images but with surfaces other than gloss. Surfaces specially coated so that, like the gloss papers, they

can retain the finest details and the best color rendition and often produce the best archival results. Art Papers – Generally thicker based papers with a heavy tooth or texture. Some coated products in this grouping are capable of producing photographic quality images, but all have a distinct ‘look and feel’ that can add subtle interest to images with subject matter that is conducive. Unlike other groups this range of papers also contains examples that contain colored bases or tinted surfaces. General Purpose – Papers that combine economy and good print quality and are designed for general usage. Different to standard office or copy papers as they have a specially treated surface designed for inkjet inks. Not recommended for final prints but offer proofing possibilities. Specialty Papers – Either special in surface or function. This grouping contains papers that you might not use often but it’s good to know that on the occasion that you do need them they are available. The range in this area is growing all the time and now includes such diverse products as magnetic paper, back light films and a selection of metallic sheets.

shadows. As we have seen already in this chapter, as part of my printer set up procedure I always output a grayscale to help me determine how the machine handles the spread of tones from highlights to shadows. The test prints remain fairly neutral when they are made with the manufacturer’s recommended papers, but as soon as I start to use different stock, the gray tonal scale ceases to be so gray. For the occasional print, I can put up with the strange colors present in my black and white masterpiece, but for the dedicated monochrome producer it is enough to send them screaming back to the darkroom. Well almost!

Specialist ink sets – the solution for monochrome printing With just this type of situation in mind several of the bigger printer manufacturers are now producing specialist machines that are much more suited to monochrome printing. The system they use is simple – rather than trying to create grays from three or more colors, these printers use extra gray inks for the task. So, in addition to the standard colors – CMY, the manufacturers have added in extra gray inks to create a seven- or even eight-color cartridge. All gray inks are derived from the same pigment base as the black, so prints made with these cartridges contain no strange color casts. That’s right, no color casts! That’s no overall magenta tint with my favorite paper, or strange color changes in the shadows and highlights of my grayscales. Printing with a specialist monochrome printer is the closest thing to making finely-crafted fiber-based prints that the digital world has to offer. Not only are your images cast-free, they also display an amazing range of grays. With pictures that have been carefully adjusted to spread image tones and retain shadow and highlight details, the multi-black system produces unparalleled quality prints on a wide range of gloss, satin, matt and fine-art stock.

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Not all inks are created equal. Different printers use different inks sets, which in turn have their own characteristics. They generally fall into two categories: Dye-based Inks â&#x20AC;&#x201C; Most standard cartridges use this type of ink. They are generally easy to use with fewer problems with streaking, long drying times and puddling than pigmented inks. Some varieties are also capable of a greater range of colors.

Pigment-based Inks â&#x20AC;&#x201C; These products last longer than most dye-based inks. They are also more water resistant. But be warned, these ink sets can be more difďŹ cult to print with and some particular brands do not have the same color or density range as their dye-based equivalents.

13.09 What about permanence? Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 DifďŹ culty level â&#x20AC;&#x201C; Intermediate

So with the availability of such great products that produce fantastic images most photographers believe that we are living in Desktop Printing Navarna. To some extent this is true. The tools for the creation of great looking prints are well within the reach of most of us, but the youth of the technology in conjunction with our haste to embrace all that is digital, has us forgetting, or at the very least overlooking, some of the lessons of the QBTU .BOZ QIPUPHSBQIJD FOUIVTJBTUT TUJMM TFF UIF T T BOE T BT HPMEFO ZFBST PG QSJOU QSPEVDUJPO 5IFO KVTU like now, countless image-makers were taking control of the print production process by setting up their own darkrooms and churning out high quality black and white prints. The best crafted prints made during this Prints that fade >> The print emerges from the machine crisp, clean and brilliantly colored but in as period exhibit many of the characteristics we little as a few weeks of standard display the same image is no more than a faded ghost of its former self. still value today. They are sharp, show good Image permanence is the hidden quality factor to gradation and exhibit an exceptional range consider when choosing a print system. of gray tones, from deep blacks through to delicate highlights. In addition to the presence of these obvious image-quality characteristics, many of the prints made in this period also boast exceptional permanence characteristics. Put simply, if well cared for, these prints will last a long time, no make that a very long time, with little or no fading. Much time and effort was spent by companies and practitioners alike establishing archival print processing systems that would ensure that the images we created would last a lifetime. It was against this historical background that the ďŹ rst color print processes were introduced and, more recently, the ďŹ rst digital print systems invented.

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Ink types >>

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New doesnâ&#x20AC;&#x2122;t always mean better In embracing these new printing possibilities it seems that sharpness, gradation and gamut were held up as the quality characteristics to be cherished and poor old permanence â&#x20AC;&#x2DC;fadedâ&#x20AC;&#x2122; into the background. For a few rocky years image-makers were teased with the release of new printer models that boasted better resolution, tonal gradation and color gamut, but these advances were coupled with permanence characteristics that were well short of expectations. Thankfully this is no longer the case. All the major printer companies have spent the last few years chipping away at the print permanence issue and now we are blessed with a range of machines that not only produce a great looking print but also one that will last.

Print systems are more than a sum of their parts By combining specialist inksets with matched papers and customized print heads, companies like Epson and Hewlett Packard have been able to achieve substantial increases in the projected life of their prints, without sacriďŹ cing the other image qualities that we all hold so dear. This revolution started in the high end or pro range of printers but now has ďŹ ltered down to entry level machines. Permanence ratings beyond four score years is now a regular occurrence, with several ink, paper, QSJOUFS DPNCJOBUJPOT CSFBLJOH UIF ZFBS CBSSJFS The extended print life is directly related to the interaction of the matched papers and inks. Despite what you read in advertising campaigns, or even on the packets of ink and paper produced by third-party vendors, not all inks and paper combinations will provide this same level of permanence. Sure, the print might look the same when it exits the machine with sharpness, color, tonal range and brightness all equivalent to a photo produced with OEM (Original Equipment Manufacturer) supplied materials, but it is only further down the track that the differences in permanence become apparent. So if the image quality is comparable for photos produced with a variety of inks and paper combinations (both OEM and third-party) how do we tell if a print is going to last the distance? By testing its permanence.

Testing permanence Thankfully the major players in the world of inkjet printing markets, Epson, Hewlett Packard, Canon and Lexmark also uphold permanence as a key component of print quality. Over the last few years these companies have been instrumental in improving the longevity of their own print systems. In addition they have taken the permanence bull by the horns and have been testing the life of their products and publishing these results so the consumer can make informed decisions about their purchases. But judging print permanence is a tricky proposal. After all how do you really know how long a QSJOU XJMM MBTU VOMFTT ZPV BSF UIFSF UP WJFX JU BGUFS UIF ZFBS QSFEJDBUFE MJGF .PTU JOEVTUSZ based tests are predictions based on light, humidity and temperature levels of an average display location. Rather than expose the print to these variables over a long period the photos are given a shorter exposure to a much brighter light source and the results then extrapolated back to the standard viewing conditions. With these results it is possible for manufacturers to predict Book resources at: www.adv-elements.com

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Comparing â&#x20AC;&#x2DC;apples with applesâ&#x20AC;&#x2122; .PTU NBOVGBDUVSFST IBWF TFUUMFE PO BWFSBHF EJTQMBZ MJHIU MFWFMT PG CFUXFFO PS MVY QFS IPVS EBZ BT UIF CBTJT PG UIFJS QSFEJDBUFE QFSNBOFODF SBUJOHT * TBZ NPTU CFDBVTF UIFSF are still some players in the third-party media and ink market who either donâ&#x20AC;&#x2122;t publish their permanence ďŹ ndings at all or who use lower daily light exposure values to generate higher-

How long will my prints last? Photo printers Epson PictureMate Personal Photo Lab Inkjet

Pigment

PictureMate included with cartridge 104 years

Epson Stylus Photo R1800

Pigment

Epson matt paper heavyweight

>150 years

Epson Glossy Photo paper

104 years

Epson matt paper heavyweight

>150 years

Epson Stylus Photo R800

Inkjet Inkjet

Pigment

Epson Stylus Photo R300

Inkjet

Dye

Epson Stylus Pro 9800

Inkjet

Pigment

Epson Stylus Pro 2100

Inkjet

Pigment

Epson Stylus Pro 2000p

Hewlett Packard Photosmart 8750

Hewlett Packard Designjet 130

Inkjet

Pigment

Dye

Epson Glossy Photo paper

104 years

Epson ColorLife Photo Paper

36 years

Epson matt paper heavyweight

30 years

Epson Premium Gloss Photo paper

85 years

Epson Ultrasmooth Fine Art paper

108 years

Epson Premium Gloss Photo paper

85 years

Epson Ultrasmooth Fine Art paper

108 years

Epson Premium Semi-Gloss Photo Paper

>100 years

Epson Enhanced (Archival) Matt Paper

>100 years

HP Premium Plus Photo Paper High Gloss

108 years

HP Premium Plus Photo Paper Soft Gloss

108 years

HP Premium Plus Photo and Proofing Gloss

82 years

HP Premium Plus Photo Paper Soft Gloss

82 years

HP Premium Plus

82 years

HP Photosmart 325 and 375 Compact Photo Printers

Inkjet

Dye

HP Premium Photo High Gloss

82 years

Olympus p-10 Digital Photo Printer

Dye-sub

Dye-sub ribbon

Dye-sub paper

8 years

Canon S800 Photo Printer

Inkjet

Dye

Canon Photo Paper Pro

27 years

Kodak Edge Generations/Royal Generations papers

Traditional photo

Color couplers

Silver halide paper

19 years

Agfacolor Sensatis/Splendex Paper

Traditional photo

Color couplers

Silver halide paper

22 years

Fuji Crystal Archive type one paper

Traditional photo

Color couplers

Silver halide paper

40 years

*How were the tests conducted? All print permanence ratings detailed here are drawn from data provided by the Wilhelm Imaging Research. The full articles and information sheets from which the information is extracted can be accessed via the companyâ&#x20AC;&#x2122;s website â&#x20AC;&#x201C; www. wilhelm-research.com. These ratings are based on accelerated light stability tests

conducted at 35Klux with glass-ďŹ ltered cool white ďŹ&#x201A;uorescent illumination with the air temperature maintained at 24Â°C and 60% humidity. Data was extrapolated to a display condition of 450 lux for 12 hours per day using the Wilhelm Imaging Research â&#x20AC;&#x2DC;Visually Weighted End Point Criteriaâ&#x20AC;&#x2122; and represents years of display for easily noticeable fading, changes in color balance and/or staining to occur.

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the performance of individual printer, ink and paper combinations and for consumers to have conďŹ dence in the longevity of the prints they make.

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predicted print life figures. As you can expect, this leads to much confusion when it comes time to purchase media and inks, with claims and counter claims of predicted print life featuring prominently on packaging of competing products. To solve this problem many companies submit their products for testing and evaluation to Wilhelm Imaging Research, a well-respected independent testing company, to provide comparative results produced under the same stringent conditions. This process has worked quite successfully for the last few years with consumers ‘in the know’ seeking out the valuable testing results that are freely published on the company’s website – www.wilhelm-research.com. The information is then used to inform print system purchasing decisions or provide data about predicted life expectancy of specific printer, ink and paper combinations. Testing print life >> Wilhelm Imaging Research, Inc. (www. wilhelm-research.com), conducts research on the stability and preservation of traditional and digital color photographs and motion pictures. The company publishes brand name-specific permanence data for desktop and large format inkjet printers and other digital printing devices. Henry Wilhelm is co-founder, President, and Director of Research at Wilhelm Imaging Research, Inc. and appears frequently as a speaker on inkjet printing technologies and print permanence at industry conferences, trade shows, and museum conservation meetings. In 2005 Epson, Hewlet-Packard, Canon and Lexmark endorsed the Wilhelm Imaging Research independent permanence testing program which provides consumers with standardized print longevity ratings.

The WIR certification program 5BLJOH UIF JEFB GVSUIFS JO UIF UPQ GPVS NBOVGBDUVSFST PG JOLKFU QSJOUFST JOLT BOE inkjet photo papers worldwide – Epson, Hewlett-Packard, Canon and Lexmark – endorsed an independent image permanence testing program that includes a certified seal for print and ink packaging. With testing data supplied by the Wilhelm Imaging Research center the WIR certification program will provide customers with standardized print longevity ratings. The program has three components: The WIR Certified Tests – A comprehensive set of test methods developed by Wilhelm Imaging Research to evaluate image permanence, WIR Test Data – Permanence data generated with the WIR Certified Tests, and (3) The WIR Seal – Signifies that the product has been tested by WIR, and that detailed image permanence data is available on the WIR website. The standardized image permanence test methods and specifications undertaken by WIR provide consumers throughout the world with ‘apples-to-apples’ comparisons for a wide range of inks and photo papers. The testing program and associated seal will help us all differentiate between printer manufacturers’ papers that have been optimized for that company’s inks, and Book resources at: www.adv-elements.com

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To qualify for use of the Seal, a product must have a minimum WIR Display Permanence Rating PG ZFBST BOE B 8*3 "MCVN %BSL 4UPSBHF 3BUJOH BU MFBTU FRVBM UP UIF EJTQMBZ SBUJOH $PNQMFUF results and details of WIR test methods are available at www.wilhelm-research.com. You will start to see the WIR seal appearing on the packaging of your favourite print products over the coming months but until then, for the latest information on print permanence, check out the WIR website.

13.10 Preparing your images for professional outsourcing Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate

Professional lab services are now expanding into the production of large and very large prints using the latest inkjet and piezo technology as well as digital images on color photographic paper. Now that you are part of the digital fraternity you too have the choice of outputting your humble Photoshop Elements images on these â&#x20AC;&#x2DC;big printing beastsâ&#x20AC;&#x2122;. Outputting to color print paper via machines like the Lambda and Pegasus has quickly become the â&#x20AC;&#x2DC;normâ&#x20AC;&#x2122; for a lot of professional photographers. Adjusting of image ďŹ les that print well on desktop inkjets so that they cater for UIF JEJPTZODSBTJFT PG UIFTF 3" machines is a skill that most of us are continuing to learn. The reeducation is deďŹ nitely worth it â&#x20AC;&#x201C; with image quality and archival permanence of our digitally generated imagery ďŹ nally meeting that of traditional prints as well as Book resources at: www.adv-elements.com

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third-party and store-label â&#x20AC;&#x2DC;universally compatibleâ&#x20AC;&#x2122; papers that may use less demanding test methods or supply no image permanence information at all about this critical â&#x20AC;&#x201C; but initially hidden â&#x20AC;&#x201C; aspect of total product quality. For example, WIR gave one leading third-party inkjet QBQFS B 8*3 %JTQMBZ 1FSNBOFODF 3BUJOH PG ZFBST XIFO QSJOUFE XJUI BO )1 QSJOUFS BOE UIF )1 /P JOLKFU DBSUSJEHF 5IF QBQFS T NBOVGBDUVSFS SBUFE UIF EJTQMBZ MJGF PG UIF TBNF QBQFS BU ZFBST CZ VTJOH GBS MFTT SJHPSPVT UFTUT XJUI MVY 67 m MUFSFE JMMVNJOBUJPO BOE measurements made at only a single density point rather than the two that is the standard with the WIR tests.

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the expectations of photographers and their clients. But just when you thought that you could become complacent with your new skills the wide format printing market has really started to take off. With improved quality, speed and competition in the area, the big players like Epson, Kodak and Hewlett Packard are manufacturing units that are capable of producing images that are not POMZ TUVOOJOH CVU BMTP WFSZ WFSZ CJH 1JDUVSFT VQ UP JODIFT XJEF DBO CF NBEF PO TPNF PG UIF latest machines, with larger images possible by splicing two or more panels together. You can now walk into a bureau with a CD containing a favorite image and walk out the same day with a spliced polyester poster printed with fade-resistant all-weather inks the size of a billboard. Not that everyone wants their output that big but the occasional poster print is now a very real option. Getting the set up right is even more critical with large format printing than when you are outputting to a desktop machine. A small mistake here can cause serious problems to both your Y JODI NBTUFSQJFDF BT XFMM BT ZPVS XBMMFU TP CFGPSF ZPV FWFO UVSO PO ZPVS DPNQVUFS UBML to a few local professionals. Most output bureaus are happy to help prospective customers with advice and usually supply a series of guidelines that will help you set up your images to suit their printers. These may be contained in a pack available with a calibration proďŹ le over the counter, or might be downloadable from the companyâ&#x20AC;&#x2122;s website. Some companies will check that your image meets their requirements before printing, others will dump the unopened ďŹ le directly to the printerâ&#x20AC;&#x2122;s RIP assuming that all is well. So make sure that you are aware of the way the bureau works before making your ďŹ rst print.

Outsourcing guidelines The following guidelines have been compiled from the suggestions of several output bureaus. They constitute a good overview but cannot be seen as a substitute for talking to your own lab directly. Ensure that the image is orientated correctly. Some printers are set up to work with a portrait or vertical image by default; trying to print a landscape picture on these devices will result in areas of white space above and below the picture and the edges being cropped. Make sure the image is the same proportion as the paper stock. This is best achieved by making an image with the canvas the exact size required and then pasting your picture into this space. Donâ&#x20AC;&#x2122;t use crop marks. Most printers will automatically mark where the print is to be cropped. Some bureaus

will charge to remove your marks before printing. Convert a layered image to a flat file before submission. Most output bureaus will not accept layered PSD (Photoshop Elements) files so make sure that you save a flattened copy of the completed image to pass on to the lab. Use the resolution suggested by the lab. Most output devices work best with an optimal resolution. Large format inkjet printers are no different. The lab technician will be able to give you details of the best resolution to supply your images in. Using a higher or lower setting than this will alter the size that your file prints, so stick to what is recommended. Use the file format recommended by the lab. The amount of time spent in setting up a file ready to print is a big factor in the cost of outsourced

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printing. Supplying your file in the wrong format will either cost you more, as a lab technician will need to spend time converting the picture, or will have your print job rejected altogether. Keep file sizes under the printerâ&#x20AC;&#x2122;s maximum. The bigger the file, the longer it takes to print. Most bureaus base their costings on a maximum file size. You will need to pay extra if your image is bigger than this value. Watch out for fancy fonts. Elements does not have â&#x20AC;&#x2DC;preflightâ&#x20AC;&#x2122; features to insure that all fonts associated with the document are included when submitted. So if you supply a PSD file to a printer and they do not have the same fonts on their system that you used in your picture they will get a message about updating fonts when the document is opened. To avoid this only supply flattened files in TIFF or JPEG formats.

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Suitable for Elements â&#x20AC;&#x201C; 6, 5.0, 4.0, 3.0, 2.0, 1.0 | DifďŹ culty level â&#x20AC;&#x201C; Intermediate | Menus used â&#x20AC;&#x201C; Image

You know the scenario. You hand over what in a lot of countries amounts to a yearâ&#x20AC;&#x2122;s salary for a snazzy new digital camera with all the bells and whistles and a modest three megapixel sensor only to be told by someone like me in the preceding chapters of this book that you can now print great photoRVBMJUZ JNBHFT o CVU POMZ VQ UP Y JODIFT 8SPOH 8SPOH 8SPOH The thinking behind such a statement is sound. As we saw earlier in this chapter the recommended JNBHF SFTPMVUJPO GPS NPTU JOLKFU BOE QSPGFTTJPOBM EJHJUBM PVUQVU JT CFUXFFO BOE EPUT QFS JODI So if we divide the pixel dimensions of the sensor the recommended resolution for inkjet output EPUT QFS JODI XF XJMM HFU UIF NBYJNVN QSJOU TJ[F QPTTJCMF 'PS FYBNQMF JG XF EJWJEF BO JNBHF QSPEVDFE CZ B DIJQ UIBU JT Y QJYFMT CZ B SFTPMVUJPO PG EQJ UIFO UIF NBYJNVN QSJOU XPVME CF Y JODIFT *G B IJHIFS SFTPMVUJPO PG EQJ XBT VTFE UIFO UIF m OBM QSJOU TJ[F XPVME CF SFEVDFE UP B NFSF Y JODIFT 3JHIU 8SPOH In truth, this is still the way to achieve the absolute best quality from your digital ďŹ les. But for the average camera owner the promise of superb image quality is no consolation if all you want is a bigger print. When faced with this problem those â&#x20AC;&#x2DC;nonWhat is interpolation professionalâ&#x20AC;&#x2122; shooters amongst us have been happily anyway? upscaling their images using the Resample option in Interpolation is a process by which extra the Image Size feature of Elements, whilst those of pixels are generated in a low-resolution image so that it can be printed at a larger us who obviously â&#x20AC;&#x2DC;know betterâ&#x20AC;&#x2122; have been running size than its original dimensions would around with small, but beautifully produced, prints. normally allow. Interpolation, or as it is sometimes called, Upsizing, can be After all it is common knowledge that increasing implemented by increasing the number of pixels in the width and height ďŹ elds of the the numbers of pixels in an image by resampling or Photoshop Elements Image > Resize > Image â&#x20AC;&#x2DC;interpolatingâ&#x20AC;&#x2122; the original data can only lead to Size dialog. unsharp, and more importantly, unacceptable, This approach works by sampling a group of albeit large, pictures. Right! Well, sort of! pixels (a 4 x 4 matrix in case of Bicubic interpolation) and using this information together with a special algorithm as a basis for generating the values for newly created pixels that will be added to the image. The sophistication of the algorithm and the size of the sampling set determine the quality of the interpolated results. The interpolated results are never as sharp or clear as an image made with the correct pixel dimensions to start with, but when you need a big print from a small ďŹ le this is a great way to go.

Interpolated big prints >> To create big prints images can be resized in Elements using the Image Size dialog (Image > Resize > Image Size). (a) Original test print 5.3 x 3.2 inches. (b) Interpolated print 32 x 24 inches.

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13.11 Shoot small print big

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Quietly over the last few years and right under our very noses it seems, a small revolution in reďŹ nement has been happening in the area of interpolation technologies. The algorithms and processes used to apply them have been continuously increasing in quality until now they are at such a point that the old adages such as t 4FOTPS EJNFOTJPO PVUQVU SFTPMVUJPO NBYJNVN QSJOU TJ[F donâ&#x20AC;&#x2122;t always apply. With the Bicubic option set in the Image Size dialog it is now possible to take comparatively small ďŹ les and produce truly large prints of great quality. This process, often called interpolation or upscaling, artiďŹ cially increases the number of pixels in an image so that with more image data in hand, bigger prints can be made.

Upscaling techniques So what are the steps involved in increasing the size of my pictures. Here I will demonstrate two approaches to upscaling. The ďŹ rst is the simplest and involves inputting new values into Image Size dialog (a) and the second, called Stair Interpolation (b), uses the same technique but increases the size of the picture incrementally rather than in one jump. Stair Interpolation is the preferred approach by many professionals, who believe that the process provides sharper end results. Both approaches use the Image Size dialog and are based on the Bicubic interpolation option. 'SPN WFSTJPO TFWFSBM DIBOHFT XFSF NBEF JO UIF *NBHF 4J[F EJBMPH BOE JUT PQUJPOT 5IF 3FTBNQMF *NBHF PQUJPO JT /05 DIFDLFE CZ EFGBVMU XIFO ZPV m STU PQFO UIF EJBMPH #JDVCJD 4NPPUIFS GPS VQTDBMJOH BOE #JDVCJD 4IBSQFS GPS EPXOTDBMJOH PQUJPOT IBWF CFFO BEEFE UP the drop-down menu of resampling methods; 3. A Scale Styles option has been included to automatically adjust any styles present in the picture in proportion to any size changes made.

The results In the example, image skin tones and other areas of graduated color handled the upsizing operation the best. Sharp-edged elements evident in the lash areas of the eyes and the straight lines of the buildings tended to show the results of the interpolation more clearly. Though not unacceptable at normal viewing distances for big-sized prints, image-makers whose work contains a lot of hard-edged visual elements and who rely on ultimate sharpness in these areas for effect will need to â&#x20AC;&#x2DC;test to seeâ&#x20AC;&#x2122; if the results are suitable for their style of images. For portrait, landscape and general shooters upscaling using either of the two approaches listed here is bound to surprise and excite.

Interpolation via Image Size >> With Resample Image ticked and Bicubic selected input the new values into the Width or Height sections of the dialog. (a) Original ďŹ le size. (b) Original pixel dimensions. (c) Original print size and resolution. (d) Resample Image option â&#x20AC;&#x201C; tick to interpolate. (e) Select Bicubic (in version 4.0 and later pick Bicubic Smoother for upscaling and Bicubic Sharper for when reducing picture size) for quality. (f) Interpolated ďŹ le size. (g) Interpolated pixel dimensions. (h) Interpolated print size and resolution.

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I still cringe saying it, but it is now possible to break the â&#x20AC;&#x2DC;I must never interpolate my images ruleâ&#x20AC;&#x2122; in order to produce more print area for the pixels you have available. I will provide some provisos though: *NBHFT DBQUVSFE XJUI UIF correct number of pixels for the required print job will always produce better results than those that have been interpolated.

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Step 1 >> With the image open in Elements select Image > Resize > Image Size.

Step 2 >> Tick Resample Image and choose the Bicubic Smoother option. Input the new values into the width and height areas.

Step 1 >> For Stair Interpolation start the process by opening the Image Size feature.

Step 2 >> This time select the percent option for Width and Height. Tick Resample Image and choose Bicubic.

Step 3 >> Input a value of 110% into the Width box and click OK. Open the Image Size dialog again.

Step 4 >> Input a value of 110% again and click OK. Continue this process until you reach your desired print size.

5IF TPGUFOJOH FGGFDU UIBU SFTVMUT from high levels of interpolation is less noticeable in pictures with general content such as landscape or portrait images and more apparent in images with sharpedged elements. 3. The more detail and pixels in the original ďŹ le the better the interpolated results will be, and a well-exposed sharply focused original ďŹ le that is saved in a lossless format such as TIFF is the best candidate image for upsizing.

The improved Bicubic Smoother resampling option found in version 4.0, 5.0 and 6 of the program provides great upscaling results without the need for incremental resampling.

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13.12 Printing workﬂow The key to producing good quality prints is knowing the characteristics of your printer. No printer is going to produce perfect results on all paper types with all images. Understanding the strengths and weaknesses of your machine will help you ensure predictable results more often. And the foundation of all such predication is a good color-management system.

Recommended Printing Workﬂow Use ‘canned’ screen proﬁle supplied with monitor

Calibrate screen using ColorVision Spyder utility

Turn on Color Management in the Color Settings of Photoshop Elements and select between Screen or Print Optimized options Activate camera color management

ColorManagement Set up

Activate scanner color management Perform Resolution test to determine optimum image resolution needed to maintain photo-quality output

Load ‘canned’ printer proﬁle that came with print driver

Use tone and color tests to modify ‘canned’ printer proﬁle for all printer, ink and paper combinations

Use ColorVision PrintFIX to create ICC proﬁle for all printer, ink and paper combinations

Select correct media or paper type Choose paper size and orientation

Printer Set up

Select Quality Print setting

Select same settings used for printer tests

Check that ‘canned’ ICC proﬁle is loaded

Select same settings that were used for ICC proﬁle creation Load PrintFIX proﬁle

Adjust image tones and colors to suit

Image Set up

Set image resolution to optimum determined from the Resolution test Upscale small image if making big print (if necessary) Apply Unsharp Mask ﬁlter

Print Quality

Good

Better

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Best

It may be implemented using the built-in features contained in your camera, scanner and printer controls in conjunction with the color-management system in Photoshop Elements or it may take a more sophisticated form relying on customized proﬁles generated with specialist products from companies like ColorVision. Either way the important thing to remember is that you need to start thinking about image management right from the time that you shoot or scan. If you want to enjoy all the rewards of high quality output then it is critical that you employ a holistic approach to color management. Just as is the case with factors like resolution and bit depth, decisions about color management need to be made at the point of capture, not left till it comes time to print.

APPENDICES

Appendices

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

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Blend modes APPENDICES

The way that layers interact with other layers in the stack is determined by the Blending mode of the upper layer. By default the layer’s mode is set to Normal, which causes the picture content on the upper layer to

obscure the picture parts beneath, but Photoshop Elements has many other ways (modes) to control how these pixels interact. Called Blend modes, the different options provide a variety of ways to control the mixing, blending and general interaction of the layer content.

Normal

Dissolve

Darken

In the following Blend mode examples the picture has two layers – ‘Top’ (1) and ‘Bottom’ (2). In each example the Blend mode of the top layer has been changed to illustrate how the two layers blend together.

The pixels in the top layer are opaque and therefore block the view of the bottom layer. Adjusting the opacity of the top layer will make it semitransparent causing it to blend with the top layer.

Combines the top layer with the bottom using a pattern of pixels. There is no effect if the top layer is at 100% opacity. Reduce the opacity to see the effect. The example is set to 80% opacity.

Compares the color of the top and bottom layers and blends the pixels where the top layer is darker than the bottom.

Multiply

Color Burn

Linear Burn

Lighten

Multiplies the color of the bottom layer with the top layer producing an overall darker result. There is no image change where the top layer is white.

Darkens or ‘burns’ the image using the contents of the top layer. There is no image change where the top layer is white.

Uses the same approach as the Color Burn mode but produces a stronger darkening effect. There is no image change where the top layer is white.

Compares the color in the top and bottom layers and blends the pixels if the top layer is lighter than the bottom.

Screen

Color Dodge

Linear Dodge

Overlay

The opposite to the Multiply mode as it multiplies the inverse of the top layer with the bottom layer producing a much lighter image.

Makes the picture lighter using the top layer to dodge the bottom layer. There is no effect where the top layer is black.

Similar to the Screen mode but produces a much stronger lightening effect. There is no effect where the top layer is black.

Combines the effect of both the Multiply and Screen modes whilst blending the top layer with the bottom. There is no effect if the top layer is 50% gray.

APPENDICES The modes are grouped into several different categories based on the type of changes that they make (1). The Layer Blend modes are located in the drop-down menu at the top left of the Layers palette (2). Blend modes can also be applied to the painting and drawing tools via a drop-down menu in the Toolâ&#x20AC;&#x2122;s options bar (3).

389

3 1 2

Soft Light

Hard Light

Vivid Light

Linear Light

Similar to the Overlay mode but produces a more subtle effect. There is no change where the top layer is 50% gray.

Uses the same approach as the Overlay mode but the change is more dramatic. Here the top layer is either Screened or Multiplied depending on its color. There is no effect where the top layer is 50% gray.

Combines the effects of both Color Burn and Color Dodge modes and applies the blend based on the color of the top layer. There is no effect where the top layer is 50% gray.

Similar to the Vivid Light mode but produces a more dramatic result. There is no effect where the top layer is 50% gray.

Pin Light

Hard Mix

Difference

Exclusion

Blends the light colors in the top layer using the Lighten mode and blends the dark colors using the Darken mode. There is no effect where the top layer is 50% gray.

Creates a ďŹ&#x201A;at toned picture with limited colors and lots of posterization. The luminosity of the top layer is blended with the color of the bottom.

Displays the tonal difference between the contents of the two layers by subtracting the lighter pixels from either of the layers. This results in a dark and sometimes reversed image.

Similar to the Difference mode but produces less dramatic effects.

Hue

Saturation

Color

Luminosity

Combines the Hue (color) of the top layer with the Saturation (color vibrancy) and Luminance (tones) of the bottom layer.

Combines the Saturation (color vibrancy) of the top layer with the Hue (color) and Luminance (tones) of the bottom layer.

Combines the Hue (color) and Saturation (color vibrancy) of the top layer with the Luminance (tones) of the bottom layer.

Combines the Luminance (tones) of the top layer with the Saturation (color vibrancy) and Hue (color) of the bottom layer.

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APPENDICES

Faster Elements at no extra cost Many dedicated Photoshop Elements users can get substantial speed gains from their existing, albeit modest, equipment by simply optimizing their computer and software so that it runs Elements more efﬁciently. So to make sure that you are getting the best from the bucks you have already spent, here is a collection of speed-enhancing tips for optimizing your machine.

Allocate a scratch disk >> Photoshop Elements uses RAM memory to run itself, store picture information and to save undo and history state steps. Unless you are working with particularly small photo files it won’t take too many editing changes before the RAM is completely used up. At this point Elements cleverly uses a portion of hard drive space as ‘fake’ RAM. This is not a new idea. Most operating systems use the same approach (called Virtual Memory), to ensure that enough memory is available for running essential programs. Photoshop Elements calls this extra memory a ‘Scratch Disk’, and correctly setting up the disk will provide immediate speed and efficiency benefits. To set your scratch disk, select Full Edit: Edit > Preferences > Performance. Then choose a drive that has the most free space from those listed in the pop-up menu. If you have other drives listed you can also allocate these as extra scratch drives. Elements will make use of the drive listed first until it is full and then move to the next drive if even more memory is needed. Most imaging professionals who regularly work with large files install a specific ‘fast access’ drive just to be used as a scratch disk by Photoshop Elements.

Set RAM percentage >> Photoshop shares the RAM on your computer with the Operating System (Windows or OSX) and any other programs running at the same time. The percentage designated in the Photoshop Elements Performance preferences determines the upper amount of RAM memory that can be used by Elements. Most new users push this setting as high as possible, some as much as 90%, thinking that this will speed up the processing of their ﬁles. Unfortunately if this allocation is set too high the operating system, as well as Elements, may need to move information from the fast RAM memory to the slower hard drive memory whilst processing. This action is called page swapping as the data is moved back and forth between the different memory spaces, and results in Photoshop Elements actually running slower. If you experience slower performance when raising the percentage of RAM allocated to Elements, try reducing the total amount to 50–60% for systems with up to 2Gb, and 70% for computers with 4Gb of RAM. Remember that you have to restart Photoshop Elements after making any memory changes to ensure that these alterations will take effect.

Defragment your drives >> As images and files are saved and resaved to disk they tend to become fragmented. This means that rather than the whole file being saved in one continuous space on the hard drive the information is broken into pieces and stored in several locations (wherever there is empty disk space). Later when the file is reopened the document is reconstructed from each of the individual pieces. This file fragmentation slows down the opening and saving of files, as well as the running of programs such as Photoshop Elements, if they were fragmented when initially installed. You can overcome this problem by regularly defragmenting the drives you use to store your images and load your programs. To defragment a drive in Windows XP and Vista: Click Start > All Programs > Accessories > System Tools > Disk Defragmenter. Choose the drive to be defragmented and then select the Defragment button. To defragment a drive in Mac OSX: Despite the fact that the latest version of Mac OSX contains automatic defragmentation of files smaller than 20Mb most Apple users prefer to defrag their drives with third-party utilities.

APPENDICES

391

APPENDICES

Minimize History states >> The Photoshop Elements Undo History palette is a great feature especially if you make mistakes as often as I do. Each successive edit is recorded as a step in the palette, enabling you to step back through the changes, gradually reversing your edits as you go. But such a great feature does come at a cost. Each step uses memory resources and, when you make complex changes to large ﬁles, you can imagine how much memory is used to store a collection of steps. Thankfully Adobe provides a setting in the Edit > Preferences > General dialog that can be used to alter the number of History States (or undo steps) stored by your system. By default it is set to 20, but if you ﬁnd that Elements is running slowly after making a few editing changes then try reducing the number. Less History States does mean less opportunity to reverse editing changes, but this action frees up memory resources and can bring new life back to a slow running machine.

Multi-page documents >> When working with large PSE or multi-page projects you can increase the speed of working by creating the project and then immediately saving and closing the ﬁle. After reopening, the images in the Photo Bin are thumbnail versions of each page, but only page 1 is fully open in the Editor. Other pages will open when you click the thumbnail or navigate to them. In this way you can limit the number of open pages when working on large books.

Reduce the number of open files >> It may seem like stating the obvious, but the more pictures you have open in Elements the more of the total resources of the machine is taken up, just maintaining each open file. When you add in the memory used to ensure undo or multiple History States for each file, it is not too hard to imagine that you will very quickly run out of RAM, forcing Photoshop Elements to use the much slower Scratch Disk space. To speed up the processing, make sure that you only open (and keep open) files that are essential for your current editing task.

Alter the Image Cache setting >> Photoshop Elements uses a special image cache to help redraw highresolution images quickly. Instead of displaying all the information contained in these big files, Elements creates lower resolution versions of the photo that are then used to update the screen quickly. You can elect to store from 1–8 cached versions of the photo. A value of 1 disables the caching. Higher values store multiple versions of the file, which in turn produces faster screen redraws. The default setting is 4, but inputting higher numbers will help speed up the redraw process. When a high cache number is set, it will take longer to open files as Elements creates the low-resolution versions of the photo at this point. To alter the Image Cache setting select Full Edit: Edit > Preferences > Image Cache and enter a value from 1 to 8 in the Cache Levels text box.

Scratch Disk versus Virtual Memory >> Both Photoshop and the Windows XP operating system use hard drive space as extra ‘fake’ RAM. Adobe recommends that Photoshop Scratch Disks be positioned on a different drive to the one used by Windows for its Virtual Memory system. On most set ups the Windows swap ﬁle is stored on the start up or C drive. To help with overall Photoshop and Windows performance, ensure that you don’t position the Scratch Disk on the same drive. To set the location of your scratch disk select Full Edit: Edit > Preferences > Plug-Ins & Scratch Disks and choose the drive to use from the drop-down menu. Remember, don’t select Startup or C drive unless you have no other choices.

Run Photoshop by itself >> A simple measure to speed up Photoshop is to make sure that no other programs are running at the same time. Seemingly simple utilities such as iTunes, Outlook and Word all chew up memory and processor resources that could be used to drive Photoshop more efﬁciently. The golden rule is that if the program is not essential for the editing task then close the software.

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Before

Plug-in options:

After Flaming Pear – Super Blade Pro

Extensis – Intellihance Pro

Effect: This plug-in provides the most sophisticated control over surface and texture, characteristics of text and objects available. OS: Mac, Windows Cost: US$30.00 Website: www.ﬂamingpear.com

Effect: Capable of comparing and applying up to 25 different enhancement options at one time, Intellihance Pro is the master of the quick ﬁx. OS: Mac, Windows Cost: US$199.00 Website: www.extensis.com

Alien Skin – Eye Candy

Digital Film – Ozone

Effect: Eye Candy 4000 is a collection of 23 different creative ﬁlters used for creating effects such as shadows, bevels, chrome, smoke, wood and even fur. OS: Mac, Windows Cost: US$169.00 Website: www.alienskin.com

Effect: Simulates the same tonal control available when using the ﬁlm-based Zone system (created by Ansel Adams) with your digital photographs. OS: Mac, Windows Cost: US$50.00 Website: www.digitalﬁlmtools.com

Harry’s – Filters

Photowiz – Color Washer

Effect: A free collection of ﬁlters that can be used for creating up to 69 different imaging effects. Also contains the option to encrypt your photos. OS: Mac, Windows Cost: FREE Website: www.thepluginsite.com

Effect: The Color Washer plug-in is used for the correction and enhancement of colors in your pictures. Great for restoring faded colors in old photos. OS: Windows Cost: US$49.95 Website: www.thepluginsite.com

PhotoTune – 20/20 Color MD

AutoFX – Photo/Graphic Edges

Effect: Using a side-by-side comparison approach this PhotoTune plug-in takes the guesswork out of correcting the colors in your photos. OS: Mac, Windows Cost: US$49.95 Website: www.phototune.com

Effect: Photo/Graphic Edges provides 14 photographic effects that are used to create an astonishing array of edges and borders for your images. OS: Mac, Windows Cost: US$179.00 Website: www.autofx.com

Plug-ins Since the first version of Elements Adobe provided the opportunity for third-party developers to create small pieces of specialist software that could plug into the program. These extra features extend the capabilities of the program and some of them have become so popular that they find themselves added into the program proper in the next release of the software. Most plug-ins register themselves as extra options in the Filter menu, where they can be accessed just like any other Elements feature. The Delta100 filter (1) from www. silveroxide.com is a great example of plug-in technology. Designed to reproduce the look of particular types of black and white film stock, the installed filter can be selected from the Silver Oxide group (2) of products in the Filter menu.

APPENDICES

393

VanDerLee – Old Movie

Andromeda – Shadow Filter

Effect: Create the look and feel of an old photo or movie frame with this plug-in. Includes controls for ﬁlm type, scratches, camera, dust, fat and hair. OS: Windows Cost: US$19.95 Website: www.v-d-l.com

Effect: Billed as the ‘most advanced shadowing plug-in available’ this ﬁlter really lives up to the hype. Master the controls and any shadows are possible. OS: Mac, Windows Cost: US$109.00 Website: www.andromeda.com

Lokas – Artistic Effects

NIK – Sharpener Pro Inkjet

Effect: The plug-in removes or adds the darkened edges that are produced by low quality wide angle lenses. OS: Windows Cost: FREE Website: www.richardroseman.com

Effect: The Artistic Effects collection is a series of customized ﬁlters that add surface effects to text and shapes. The options include gel, ice, metal, smoke and snow. OS: Windows Cost: US$59.95 Website: www.artistic-effects.com

Effect: The range of NIK sharpening plug-ins is designed to sharpen your pictures to clarify output to a variety of print devices. OS: Mac, Windows Cost: US$79.95 Website: www.nikmultimedia.com

AV Bros – Puzzle Pro

ASF – Digital GEM Airbrush

Digital Element – Aurora

Effect: Although at ﬁrst this seems like a simple jigsawpuzzle maker the ability to customize and add extra shapes really extends the options for this plug-in. OS: Mac, Windows Cost: US$49.95 Website: www.avbros.com

Effect: Provides glamor photo-type results by automatically smoothing skin whilst retaining details in the areas like eyelashes and hair. OS: Mac, Windows Cost: US$99.95 Website: www.asf.com

Effect: The Aurora plug-in is an advanced world creator that produces highly sophisticated water, sky and lighting elements. OS: Mac, Windows Cost: US$199.00 Website: www.digi-element.com

Andrew’s Plugins – V8

The Imaging Factory – Convert to B&W

PictureCode – Noise Ninja

Power Retouche – Black & White Studio Effect: This plug-in replicates many of the effects of a traditonal darkroom including speciﬁc ﬁlm looks. OS: Mac, Windows Cost: US$75.00/£45.00 Website: www.powerretouche.com

Richard Roseman – Vignette Corrector

Effect: There is plenty of creative choice here with nearly 20 different plug-in sets providing thousands of different effects and only costing $10.00 each. OS: Mac, Windows Cost: US$10.00 Website: www.graphicxtras.com

Effect: Powerful and customizable conversion plug-in designed for the dedicated monochrome enthusiast. OS: Mac, Windows Cost: US$99.00 Website: www.theimagingfactory.com

Effect: Noise Ninja is a very sophisticated noise reduction plug-in that works extremely well with photographs taken using high ISO settings. OS: Mac, Windows Cost: US$44.95 Website: www.picturecode.com

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APPENDICES

Jargon buster A >> Aliasing The jaggy edges that appear in bitmap images with curves or lines at any angle other than multiples of 90°. Anti-Aliasing This feature smooths out the sawtooth edges that appear on letters or shapes that have diagonal or circular sides. The anti-aliasing function in Elements softens around the edges of images to help make the problem less noticeable. Aspect ratio This is usually found in dialog boxes concerned with changes of image size and refers to the relationship between width and height of a picture. The maintaining of an image’s aspect ratio means that this relationship will remain the same even when the image is enlarged or reduced. Not maintaining the aspect ratio will result in the image being distorted – squished or stretched. Automatically Tile Windows Automatically resizes open windows to ﬁt the current workspace.

B >> Background layer An image can only have one background layer. It is the bottom-most layer in the stack. No other layers can be moved or dragged beneath this layer. You cannot adjust this layer’s opacity or its Blending mode. Background printing A printing method that allows the user to continue working whilst an image or document is being printed. Batch processing Refers to a function called Process Multiple Files. Batching applies a series of commands to several ﬁles at the one time. This function is useful for making the same changes to a folder full of images. In Elements this function is found under the File menu and is useful for

converting groups of image files from one format to another. Bit Stands for ‘binary digit’ and refers to the smallest part of information that makes up a digital file. It has a value of only 0 or 1. Eight of these bits make up one byte of data. Bitmap or ‘raster’ The form in which digital photographs are stored and is made up of a matrix of pixels. Blend mode The way in which a color or a layer interacts with others. The most important after Normal are probably Multiply, which darkens everything, Screen, which adds to the colors to make everything lighter, Lighten, which lightens only colors darker than itself, and Darken, which darkens only colors lighter than itself. Both the latter therefore flatten contrast. Color maintains the shading of a color but alters the hue to the selected foreground color. Glows therefore are achieved using Screen mode, and Shadows using Multiply. Brightness range The range of brightnesses between shadow and highlight areas of an image. Burn tool Used to darken an image, can be targeted to affect just the Shadows, Midtones or Highlights. Opposite of the Dodge tool. Part of the toning trio, which also includes the Sponge. Byte The standard unit of digital storage. One byte is made up of 8 bits and can have any value between 0 and 255. 1024 bytes are equal to 1 kilobyte. 1024 kilobytes are equal to 1 megabyte. 1024 megabytes are equal to 1 gigabyte.

C >> Canvas Elements makes a distinction between the canvas, upon which pictures and other content is placed, and the image content itself.

APPENDICES

Catalog When you import pictures into the Photo Browser Elements creates a database of the images and their details. This database is called a catalog. CCD or Charge Coupled Device Many of these devices placed in a grid format comprise the sensor of most modern digital cameras. Clone Stamp or Rubber Stamp tool Allows a user to copy a part of an image to somewhere else. It is therefore ideal for repair work, e.g. unwanted spots or blemishes. Equivalent to Copy and Paste in a brush. Collections A collection is another way that you can order and sort your photos in Elements. Color mode The way that an image represents the colors that it contains. Different color modes include Bitmap, RGB and Grayscale. Compression Refers to a process where digital ﬁles are made smaller to save on storage space or transmission time. Compression is available in two types – lossy, where parts of the original image are lost at the compression stage, and lossless, where the integrity of the ﬁle is maintained during the compression process. JPEG and GIF use lossy compression whereas TIFF is a lossless format.

D >> Defringe The defringe command removes the contrasting edge pixels from picture parts that have been cut or extracted from their backgrounds. Digitize This is the process by which analog images or signals are sampled and changed into digital form.

Dodge tool For lightening areas in an image. See also Burn tool. Downsample To reduce the size of a digital photo. Most methods for achieving this result remove unwanted pixels in the process. DPI or Dots per inch A term used to indicate the resolution of a scanner or printer. Dynamic range The measure of the range of brightness levels that can be recorded by a sensor.

E >> Enhancement A term that refers to changes in brightness, color and contrast that are designed to improve the overall look of an image. Export The Export feature in the Photo Browser is designed to provide a quick easy automated way to create and save copies of multi-selected pictures from inside the workspace.

F >> Feather The Feather command softens the transition between selected and non-selected areas of a photo. File format The way that a digital image is stored. Different formats have different characteristics. Some are cross-platform, others have inbuilt compression capabilities or a limited color range. Filter In digital terms a filter is a way of applying a set of image characteristics to the whole or part of an image. Most image editing programs contain a range of filters that can be used for creating special effects. Front page Sometimes called the Home or Index page, refers to the initial screen that the viewer sees when logging onto a website. Often the name and spelling of this page file is critical if it is to work

APPENDICES

Caption Captions are another way to ‘title’ your photos beyond the standard ﬁle name and can be added using the Properties pane in Elements.

395

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

APPENDICES

on the web server. Consult your ISP staff for the precise name to be used with your site.

G >> Gamma The contrast of the midtone areas of a digital image. Gamut The range of colors or hues that can be printed or displayed by particular devices. Gaussian Blur When applied to an image or a selection, this ﬁlter softens or blurs the image. GIF or Graphic Interchange Format This is an indexed color mode format that contains a maximum of 256 colors that can be mapped to any palette of actual colors. It is extensively used for web graphics, buttons and logos, and small animated images. Grayscale A monochrome image containing just monochrome tones ranging from white through a range of grays to black. Group You can group photos with similar content into a single Image Stack in the Photo Browser workspace. Grow The Select > Grow feature increases the size of an existing selection by incorporating pixels of similar color and tone to those already in the selection.

H >> Histogram A graph that represents the tonal distribution of pixels within a digital image. History Adobe’s form of Multiple Undo. Hot linked This term refers to a piece of text, graphic or picture that has been designed to act as a button on a web page. When the viewer clicks the hot linked item they are usually

transported to another page or part of a website. HTML The Hyper Text Mark Up language is the code used to create web pages. The characteristics of pages are stored in this language and when a page ﬁle is downloaded to your computer the machine lays out and displays the text, image and graphics according to what is stated in the HTML ﬁle. Hue Refers to the color of the light and is separate from how light or dark it is.

I >> Image layers Images in Elements can be made up of many layers. Each layer will contain part of the picture. When viewed together all layers appear to make up a single continuous image. Special effects and ﬁlters can be applied to layers individually. Indexed color The Indexed Color mode can support up to 256 different colors and is the default Color mode for the GIF ﬁle format. Interpolation This is the process used by image editing programs to increase the resolution of a digital image. Using fuzzy logic the program makes up the extra pixels that are placed between the original ones that were generated at the time of scanning. ISP The Internet Service Provider is the company that hosts or stores web pages. If you access the web via a dial-up account then you will usually have a portion of free space allocated for use for your own site; others can obtain free (with a small banner advert attached) space from companies like www.tripod.com.

J >> JPEG A ﬁle format designed by the Joint

APPENDICES

information about your picture that is attached to the photo ﬁle. Some of the detail is created at time of capture or creation and other parts are added as the ﬁle is edited or enhanced.

JPEG2000 The newest version of JPEG is called JPEG2000 and uses wavelet technology to produce smaller (by up to 20%) sharper ﬁles with less artifacts than traditional JPEG.

N >>

L >> Layer opacity The opacity or transparency of each layer can be changed independently. Depending on the level of opacity the parts of the layer beneath will become visible. You can change the opacity of each layer by moving the Opacity slider in the Layers palette. LCD or Liquid Crystal Display A display screen type used in preview screens on the back of digital cameras, in laptop computers and more and more as replacement desktop screens. Liquify A tool that uses brushes to perform distortions upon selections or the whole of an image.

Navigator In Elements, a small scalable palette showing the entire image with the possibility of displaying a box representing the current image window frame. The frame’s color can be altered; a new frame can be drawn (scaling the Image window with it) by holding the Command/Ctrl keys and making a new marquee. The frame can be dragged around the entire image with the Hand tool. The Zoom tools (Mountain icons) can be clicked, the slider can be dragged, or a figure can be entered as a percentage. Noise Noise is the digital equivalent of the grain that appeared in photos taken with high ISO films. Noisy photos or those images that contain a lot of random speckled pixels instead of smooth tones generally result from long exposures times or the use of a high ISO or sensitivity setting. The Reduce Noise filter in Elements can be used to help correct this picture problem.

M >> Marquee A rectangular selection made by clickdragging to an opposite corner. Maximize mode The Maximize mode is one of the many ways that open pictures can be viewed in Photoshop Elements. Selecting the option from the Window > Images menu switches the view from Auto Tiled mode to a single image surrounded by the gray work area background. Megapixel One million pixels. Used to describe the resolution of digital camera sensors. Metadata Metadata is a variety of non-image

O >> Optical resolution The resolution that a scanner uses to sample the original image. This is often different from the highest resolution quoted for the scanner as this is scaled up by interpolating the optically scanned ﬁle. Optimization for Web The best way to optimize your photos for web use is via the Save for Web option. This feature provides before and after previews of the compression process as well as options for compression and reducing the dimensions of your pictures, all in the one dialog.

APPENDICES

Photographic Experts Group that has inbuilt lossy compression that enables a massive reduction in ﬁle sizes for digital images. Used extensively on the web and by press professionals for transmitting images back to newsdesks worldwide.

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APPENDICES

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

Options bar Long bar beneath the menu bar, which immediately displays the various settings for whichever tool is currently selected. Can be moved to other parts of the screen if preferred.

P >> Palette A window that is used for the alteration of image characteristics: Options palette, Layers palette, Styles palette, Hints palette, File Browser, History, etc. These can be docked together vertically around the main image window or if used less frequently can be docked in the Palette Well at the top right of the screen (dark gray area). Palette Bin The Palette Bin stores the Elements palettes and sits to the right of the main screen in the Editor workspace. Photo Browser The Photo Browser or Organizer workspace is the main picture viewing, sorting and management area in Elements. Pictures can be imported into the Browser using the Get Photos command, viewed side by side with the Photo Compare command and seen as a slide show by selecting the Photo Review option. Pixel Short for picture element, refers to the smallest image part of a digital photograph.

Q >> Quantization Refers to the allocation of a numerical value to a sample of an analog image. Forms part of the digitizing process.

R >> RGB All colors in the image are made up of a mixture of red, green and blue colors. This is the typical mode used for desktop scanners, painting programs and digital cameras.

S >> Sponge tool Used for saturating or desaturating part of an image that is exaggerating or lessening the color component as opposed to the lightness or darkness. Status bar Attached to the base of the window (Mac) or beneath the window (PC). Can be altered to display a series of items from Scratch Disk usage and ﬁle size to the time it took to carry out the last action or the name of the current tool. Stock A printing term referring to the type of paper or card that the image or text is to be printed on. Swatches In Elements, refers to a palette that can display and store speciﬁc individual colors for immediate or repeated use.

T >> Thumbnail A low resolution preview version of larger image ﬁles used to check before opening the full version. TIFF or Tagged Image File Format A ﬁle format that is widely used by imaging professionals. The format can be used across both Macintosh and PC platforms and has a lossless compression system built in.

W >> Warp tool A means of creating differing distortions to pieces of text such as arcs and ﬂag ripples.

APPENDICES

399

Keyboard shortcuts

Action

Windows (ver. 6.0)

Macintosh (ver. 4.0)

Open a ﬁle

Ctrl + O

Command + O

Open ﬁle browser

–

Shift + Command + O

Close a ﬁle

Ctrl + W

Command + W

Save a ﬁle

Ctrl + S

Command + S

Step backward

Ctrl + Z

Command + Z

Step forward

Ctrl + Y

Command + Y

Free Transform

Ctrl + T

Command + T

Auto levels

Shift + Ctrl + L

Shift + Command + L

Auto contrast

Alt + Shift + Ctrl + L

Option + Shift + Command + L

Auto Color Correction

Shift + Ctrl + B

Shift + Command + B

Convert to Black and White

Alt + Ctrl + B

Hue/Saturation

Ctrl + U

Command + U

Levels

Ctrl + L

Command + L

Select All

Ctrl + A

Command + A

Apply last ﬁlter

Ctrl + F

Command + F

Show/Hide rulers

Shft + Ctrl + R

Command + R

Show/Hide selection

Ctrl + H

Command + H

Help

Command + ?

Print Preview

Ctrl + P

Command + P

Exit Elements

Ctrl + Q

Command + Q

Deselect

Ctrl + D

Command + D

Feather a selection

Alt + Ctrl + D

Option + Command + D

APPENDICES

General >>

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

APPENDICES

Viewing >>

Action

Windows

Macintosh

Fit image on screen

Ctrl + 0

Command + 0

100% magniďŹ cation

Alt + Ctrl + 0

Option + Command + 0

Zoom in

Ctrl + +

Command + +

Zoom out

Ctrl + -

Command + -

Scroll image with Hand tool

Spacebar + drag mouse pointer

Scroll up or down 1 screen

Page Up or Page Down

Selection/Drawing tools >>

Action

Windows

Macintosh

Add to an existing selection

Shift + Selection tool

Subtract from an existing selection

Alt + Selection tool

Command + Selection tool

Constrain Marquee to square or circle

Shift + drag Selection tool

Draw Marquee from center

Alt + drag Selection tool

Option + drag Selection tool

Constrain Shape tool to square or circle

Shift + drag Shape tool

Draw Shape tool from center

Alt + drag Shape tool

Option + drag Shape tool

Exit Cropping tool

Esc

Enter Cropping tool selection

Enter

Return

Switch Magnetic Lasso to Lasso

Alt + drag tool

Option + drag tool

Switch Magnetic Lasso to Polygonal Lasso

Alt + drag tool

Option + drag tool

Switch from Selection to Move tool

Ctrl (except Hand tool is selected)

Command

APPENDICES

401

Painting >>

Windows

Macintosh

Change to Eyedropper

Alt + painting or Shape tool

Option + painting or Shape tool

Cycle through blending modes

Shift + + or -

Set exposure or opacity for painting

Painting tool + Number key ( %= number key × 10)

Display Fill dialog box

Shift + Backspace

Shift + Delete

Perform Fill with background color

Ctrl + Backspace

Command + Delete

Change Brush tip size

[ to decrease size ] to increase size

Change Brush tip hardness

Shift + [ to decrease hardness Shift + ] to increase hardness

Action

Windows

Macintosh

Select word

Double-click

Select line

Triple-click

Decrease font size by 2 points/pixels

Selected text + Shift + <

Increase font size by 2 points/pixels

Selected text + Shift + >

Type editing >>

APPENDICES

Action

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ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS

APPENDICES

Elements/Photoshop feature equivalents Activity

Elements

Photoshop

Lighten shadow areas in an image

Fill Flash feature (ver. 1.0/2.0), Shadows/Highlights (ver. 3.0/4.0/5.0/6) Adjust Color Curves (ver. 5.0/6)

Curves and Shadow/ Highlight feature

Darken highlight areas in an image

Backlighting feature (ver. 1.0/2.0), Shadows/Highlights (ver. 3.0/4.0/5.0/6) Adjust Color Curves (ver. 5.0/6)

Curves and Shadow/ Highlight feature

Transformation

Image > Transform

Edit > Transform

Rotate layer

Image > Rotate > Layer 90ยบ left

Edit > Transform > Rotate 90ยบ CCW

Rotate canvas

Image > Rotate > 90ยบ left

Image > Rotate Canvas > 90ยบ CW

Resize image

Image > Resize > Image Size

Image > Image Size

Resize canvas

Image > Resize > Canvas Size

Image > Canvas Size

Batch dialog

File > Batch Processing or File > Process Multiple Files

File > Automate > Batch

Web Photo Gallery

File > Create Web Photo Gallery or Create>HTML Photo Gallery

File > Automate > Web Photo Gallery

Contact Sheet

File > Print Layouts > Contact Sheet or File > Process Multiple Files

File > Automate > Contact Sheet II

Picture Package

File > Print Layouts > Picture Package or File > Process multiple Files

File > Automate > Picture Package

Auto Levels

Enhance > Auto Levels

Image > Adjustments > Auto Levels

Auto Contrast

Enhance > Auto Contrast

Image > Adjustments > Auto Contrast

Auto Color Correction

Enhance > Auto Color Correction

Image > Adjustments > Auto Color

Hue/Saturation

Enhance > Adjust Color > Hue/ Saturation

Image > Adjustments > Hue/Saturation

Color Variations

Enhance > Adjust Color > Color Variations

Image > Adjustments > Variations

Brightness/Contrast

Enhance > Adjust Brightness/Contrast > Brightness/Contrast

Image > Adjustment > Brightness/Contrast

Levels

Enhance > Adjust Brightness/Contrast > Levels

Image > Adjustments > Levels

INDEX

Index

INDEX

Add Noise filter, 183 Adjust Color Curves feature, 9, 12, 220–1 Adjust Sharpness feature, 10, 189–90 Adjust Smart Fix, 116 Adjustment Layers, 121–2, 142 Gradient Map, 157 masking and, 148 Adobe Camera Raw, 36–7, 38, 64–83 Basic tab, 67 histogram, 66–7 Image Settings menu, 67–8 Camera Raw Defaults, 68 Custom, 68 Image Settings, 68 Previous Conversion, 68 JPEG and TIFF file enhancement, 269 output options, 80–3, 87 preview space, 65–6 Raw file queue, 77–9 changes across multiple raw files, 78 changes across rated raw files, 79 tonal adjustments, 69–77 Auto tonal control, 74 Blacks (Shadows), 71, 84 Brightness, 71, 85 Clarity, 73, 85 Color Noise Reduction, 77, 86 Contrast, 72, 85 Exposure, 70–1, 84 Fill Light, 72 Luminance Smoothing, 77, 86 Recovery, 72, 85 Saturation, 74, 86 Sharpening, 75–7, 86 Vibrance, 74, 85 Toolbar, 79–80 updating, 88 white balance correction, 68–9, 84 Temperature slider, 69 Tint slider, 69 White Balance drop-down menu, 68–9 White Balance tool, 69, 80, 84 Adobe RGB, 365 Albums, 7, 95–8 adding photos to Album, 95

403

INDEX

404

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS advantage of, 96 finding photos, 101 Smart Albums, 96–8 creation of new Smart Album, 97 search criteria, 97 using Find to make Smart Albums, 98 using Album groups, 96 Aliasing, 394 ‘All Layers’ tool options, 122–3 Anti-aliasing, 394 Aperture, 23–4, 286 Applied Science Fiction (ASF): GEM, 48 ICE, 47 ROC, 49 Aspect ratio, 394 Auto Color, 112 Auto Contrast, 8–9, 112 Auto face tagging, 94 Auto Levels, 8–9, 112 Auto Red Eye Fix, 111 multiple photos, 114 Auto Sharpen, 10, 112 Auto Smart Fix, 111 Auto white balance, 32 bracketing, 33 Automatic editing, 110–14 Auto Color, 112 Auto Contrast, 112 Auto Levels, 112 Auto Red Eye Fix, 111, 114 Auto Sharpen, 112 Auto Smart Fix, 111 multiple pictures, 113–14 bulk red eye fixing, 114 multi-selection editing, 114 processing multiple files, 113 Automatically Tile Windows, 394 Background layers, 143, 394 Background matting, 322 Background printing, 394 Backing up, 102–4 creating a backup, 103 frequency, 104

glossary, 103 storage of duplicates, 104 Barrel distortion correction, 231–2 Batch processing, 394 Bayer pattern, 35 Bitmap, 394 Bits, 19, 394 Black and white, conversion to, See Color conversion to black and white Black and white prints, 374–7 ink choice, 374–6 monochrome inks, 375–6 specialist ink sets, 376 paper choice, 374 Black, white and color, 178 Blacks (Adobe Camera Raw), 71, 84 Blemish removal, 244–7 Clone Stamp tool, 244, 246 Healing Brush tool, 244, 247 Spot Healing brush, 246, 247 Blend Modes, 123–4, 388–9, 394 dodge and burn, 164 Opacity and, 146 photo restoration, 258–9 retouching, 251 sharpening, 190 Border techniques, 179–82 Frame layers, 181–2 grayscale mask use, 180–1 simple borders, 179 Brightness: Adobe Camera Raw, 71, 85 extremes in panoramas, 295–7 range, 394 See also Exposure Brown, Russell, 153 Burning-in, 159–64, 394 blend mode, 164 erasing back through tonal layers, 161–3 masked base layers, 163 non-destructive, 160 paint on burning-in, 163 Byte, 394 Canvas, 394

INDEX desaturation, 151–2 Hue/Saturation control, 170–1, 174, 204–5 Raw format, 60, 74, 86 Color Variations feature, 176 ColorVison: PrintFIX, 372–3 Spyder, 366–7 Combining images, 224–8 Compare Photos Side by Side, 99–100 Compression, 320–1, 395 Computer optimization, 390–1 Contact sheets, 356 Content Palette, 336 Continuous tone images, 18 Contrast control, 26–7 Auto Contrast, 8–9, 112 Raw format, 60, 72, 85 scanning, 45–6 Unsharp Mask filter use, 198–9 Contrast/Brightness, 9 Convert to Black and White feature, 154–6 custom entries, 156 Lith printing technique, 202 Correct Camera Distortion filter, 202–3, 231 Crop tool, 8 Adobe Camera Raw, 80 Cropping, 8 Cross-processing effects, 206–7 Curves features, 220–3 Adjust Color Curves feature, 220–1 using Photoshop’s Curves, 223 Cutout filter, 238 Date View, 99 Defragmentation of disk drives, 390 Defringe, 395 Delta100 filter, 392 Depth of field: creation of effects, 210–14 panoramas, 285–7 artificially creating, 298 Desaturation, 151–2 Diffuse Glow filter, 242 Diffusion printing, 192–3 Digital hand coloring, 208–9

INDEX

Captioning, 92, 395 Catalog, 395 Charge coupled device (CCD), 395 Clarity, Adobe Camera Raw, 73, 85 Clipping, 71, 72 Clone Stamp tool, 395 restoration, 256–7 retouching, 244, 246 CMYK color, 346 Collages, See Photo Collages Collections, See Albums Color cast, 29–31 correction during scanning, 46 See also White balance control Color cast tool, 9 Color conversion to black and white, 150–8 borrowing Photoshop’s Black and White, 158 Convert to Black and White feature, 154–6, 202 converting to grayscale, 150 desaturating the color file, 151–2 Grading Map conversions, 157 Color depth, 18–22, 43 12-bit capture, 19 16-bit (high-bit) capture, 19, 20–2, 43 advantages of, 21 misconceptions, 21–2 workflow, 21 Raw format, 60, 87 Color gamut, 358, 396 Color interpolation, 36 Color management, 359 color-managed workflow, 361–5 assigning profiles, 364 cameras, 361 image editing program, 363–4 monitors/screens, 362, 366 printer, 365, 368–73 scanners, 361–2 sRGB versus Adobe RGB, 365 printing and, 360 Color Noise Reduction, Adobe Camera Raw, 77, 86 Color restoration, 262–3 scanned print, 264–5 Color saturation, 27–8

405

INDEX

406

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS Digital ROC (Recreation Of Colour) plug-in, 266 Digitize, 395 Distortion correction, 231–2 Dodging, 159–64, 395 blend mode, 164 erasing back through tonal layers, 161–3 masked base layers, 163 non-destructive, 160 paint on dodging, 163 Dots Per Inch (DPI), 15, 352, 395 Downsample, 395 Dreamy effect, 242 Drop shadow effect, 214–18 Dust, 47 photo restoration, 258–9 Dust and Scratches ﬁlter, 258–9 Dye sublimation, 350–1 Dynamic range, 395 Editing, See Automatic editing; Manual editing; Semi-automatic editing Effects Palette, 336 Enhancement, 395 global, 20 local, 21 tones, 165–7 Evening, Martin, 207 Export, 395 Exposure, 22–3 control, 23–4 enhancing poorly exposed pictures, 165–9 adding detail to highlights and shadows, 168–9 screening image layers to enhance tones, 165–7 panoramas, 284 correcting differences, 299–300 extremes of brightness, 295–7 Raw format, 60, 70–1, 84 scanning, 45–6 Exposure compensation, 24–5, 167 Eyedropper tool, 248 Eyes, brightening, 250 F-stops, 24, 286

Faded image restoration, 260–1 color restoration, 262–3 Feather, 395 File format, 395 See also Specific formats File location, 100–2 Fill Flash feature, 167 Fill layers, 142 masking and, 148 Fill Light, Adobe Camera Raw, 72 Filter, 395 Find menu, 100 Flash based websites, 313 Focal length, 286 Frame layers, 143–4, 324 border creation, 181–2 Freckles, softening, 243 Free form layouts, See Photo Collages Free Transform feature, 139–40 Full Backup, 103 Full Edit workspace, 117–18 Full screen view, 99 Gamma, 396 Gamut, 358, 396 Gaussian Blur filter, 193, 396 depth of field effects, 211–13 GIF format, 320, 321, 396 Global enhancement, 20 Gradient Map Adjustment Layer, 157, 230 black, white and color images, 178 Grain filter, 184 Graphic Pen filter, 235 Grayscale, 396 converting color to, 150 mask, border creation, 180–1 See also Color conversion to Black and White Grid, 141 Group, 396 Group with Previous command, 149 Grow, 396 Guided Edits, 119–20 Halftoning, 346–7 Hand coloring, 208–9

INDEX

ICC profiles, 359, 360 assigning profiles, 364 See also Color management Image Cache, 391 Image layers, 142, 396 screening to enhance tones, 165–7 Image Stack creation, 107–8 auto stacking, 107–8 Image stitching, See Panoramas Importing photos, 6–7 In-camera labelling, 90 Incremental Backup, 103 Indexed color, 396 Inkjet printer, 348–9 Inks: monochrome, 375–6 specialist sets for monochrome printing, 376 types, 377 See also Printers; Printing Instant film transfer effect, 194–7 adding the Polaroid frame, 197 applying paper texture and color, 197

desaturating the image tones, 196 mottling the ink, 196–7 Interactive Layout, 276–8 Internet Service Provider (ISP), 396 Interpolation, 36, 383–5, 396 Java Applet, 309 JPEG format, 36, 40, 57, 397 JPEG2000, 397 use in websites, 320, 321, 322 Keyboard shortcuts, 399–401 Keyword tags, 7, 93–4 Kodak Photo Book, 343–4 Laser printer, 350 Layers, 142–5 adding layers, 144 Adjustment Layers, 121–2 blending modes, 146 dodging and burning-in, 161–3 duplicate layers, 125 enhancing poorly exposed pictures, 165–7 Layer Mask, 124–5 advanced, 129–30 black, white and color images, 178 layer styles, 145 manipulating layers, 145 opacity, 146, 397 shortcuts, 146 types of, 142–3 viewing layers, 145 Layouts, See Photo Collages LCD (Liquid Crystal Display), 397 Lens problem correction, 231–2 Levels, 9, 11–12 Auto Levels, 8–9, 112 color restoration, 262–3, 264–5 Lichenstein, Roy, 238 Liquefy, 397 Lith printing technique, 200–2 Local enhancement, 21 Locating ﬁles, 100–2 Luminance Smoothing, Adobe Camera Raw, 77, 86

INDEX

Hand tool, Adobe Camera Raw, 80 Hard Light Blend Mode, 190 Healing Brush tool, 244, 247 High Pass ﬁlter, 190 High-bit capture, 19, 20–2 advantages of, 21 misconceptions, 21–2 workﬂow, 21 High-key pictures, 229–30 High-resolution mosaics, 303 Highlights: adding detail to, 168–9 Shadows/Highlights feature, 222 skin, toning down, 251 Histogram, 25, 27, 396 Adobe Camera Raw, 66–7 scanner, 46 History States, 391 Hot linked, 396 HTML based websites, 313, 396 Hue, 396 Hue/Saturation control, 170–1, 174, 204–5

407

INDEX

408

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS Magic Wand tool, 173–4 Maloszek, Karl, 309 Manual editing, 117–30 borrowing Photoshop features, 127–9, 158 Full Edit workspace, 117–18 Guided Edits, 119–20 non-destructive editing, 120–6 Adjustment Layers, 121–2 ‘All Layers’ tool options, 122–3 blend modes, 123–4 duplicate layers, 125–6 layer masking, 124–5, 129–30 Marquee tool, 141, 397 Rectangular Marquee, 8 Masking techniques, 147–9 fill and adjustment layer masks, 148 ‘Group with Previous’ masks, 149 painting masks with Selection Brush, 147 using selections with layer masks, 149 Maximize mode, 397 Megapixel, 397 Metadata, 397 Monitor color management, 362 calibration, 366–7 Monochrome inks, 375–6 Monochrome prints, See Black and white prints Montages, 224–8 Mosaics, 303 Motion Blur, 190 Multi-sample scanning, 44 Multi-selection editing, 114 Naming files, 92 Navigator, 397 Nodal point, 281–2 Noise, 397 reduction, 48 Raw format, 60, 77, 86 Offset filter, 321 Offset lithography, 351 Old photograph appearance, 233–4 Online Galleries tool, 315–18 image selection, 315 previewing, 318

sharing the site, 318 website settings, 318 website style selection, 315 See also Websites Online résumé, 312 Opacity, 146, 397 Open Preference dialog, Adobe Camera Raw, 80 Options bar, 398 Organization, 7, 90–102 adding picture details in-camera, 90 Albums, 95–8 Smart Albums, 96–8 captioning, 92 changing views, 98–100 locating files, 100–2 naming and renaming, 92–3 Photo Browser use, 92 tagging photos, 93–4 auto face tagging, 94 whilst downloading, 90–2 Orientation, 7 Overexposure, See Exposure Painterly photos, 235–8 pastel strokes, 236 pen and ink drawing, 235 pop art posters, 238 watercolor painting, 237 Palette, 398 Palette Bin, 398 Pano2Exe, 308 Panorado applet, 309 Panoramas, 272–310 depth of field, 285–7 artificially increasing, 298 editing, 292–4 ensuring consistent overlap, 289 exposure, 284 brightness extremes, 295–7 correcting differences, 299–300 focus, 285 Interactive Layout, 276–8 misaligned picture parts, 295 moving subjects, 290–1 removal, 290

INDEX Kodak Photo Book, 343–4 Print Photos, 343 Print Preview, 343 Project Bin, 328–30 removing photos, 333 replacing photos, 333 viewing pages, 335 Photo Downloader, 6–7 Advances Dialog, 62–3 Basic Dialog, 61–2 organizing photos whilst downloading, 90–1 Raw format, 61–3 Photo layouts, See Photo Collages Photo Projects, 324 Photo restoration, See Restoration Photomerge, 272, 273 converting to QuickTime movie format, 307 high-resolution mosaics, 303 Panorama stitching modes, 273–6, 277 auto workflow, 275 manual workflow, 275–6 See also Panoramas Photoshop feature use: Color Balance split toning, 176–7 conversion to black and white, 158 Curves, 223 manual editing, 129 tinting, 172 Pictography, 351 Pin cushion distortion correction, 231–2 Pixel, 398 requirements, 16–17 Plug-ins, 392–3 camera-based, 88 Delta100 filter, 392 Digital ROC (Recreation Of Colour), 266 QuickTime, 306 Polaroid transfer effect, See Instant film transfer effect Pop art posters, 238 Portrait retouching, See Retouching Poster Edges filter, 238 Preview, Adobe Camera Raw, 80 Printers: calibration, 368–73

INDEX

repair, 290–1 Photomerge stitching modes, 272–6, 277 auto workflow, 275 manual workflow, 275–6 printing, 304–5 shooting techniques, 279–83 camera assisted hand held, 283 camera positioning, 279–80 camera support, 280–1 nodal point, 281–2 VR equipment, 280–1 spinning panorama movies, 306–9 converting to QuickTime movie format, 307 making web pages with Java Applet-based viewer, 309 using Pano2Exe, 308 timing, 288 vertical, 302 virtual reality (VR) panoramas, 278, 306–9 white balance, 287 adjusting for changes in, 300–2 workflow, 310 zoom, 285 Paper: for black and white printing, 374 types, 376 Pastel strokes, 236 Perspective problems, 202–3 Photo Books, See Photo Collages Photo Browser, 92, 398 View, 98 Photo Collages, 324–44 adding pages, 334 adding photos, 332–3 Auto Fill, 329, 340 basic steps, 326–7 Content Palette, 336 deleting pages, 335 editing existing Photo Collages, 330–2 Effects Palette, 336 frame alignment, 340 frame arrangement, 341 frame distribution, 341 moving pages, 335 printing, 342–4

409

INDEX

410

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS color tests, 370–1 ColorVision PrintFIX, 372–3 resolution tests, 370 sharpness tests, 371–2 tone tests, 369–70 color management, 365 dye sublimation, 350–1 inkjet, 348–9 laser, 350 resolution, 352 testing, 370 Printing, 346–86 background, 394 basic settings, 355 black and white, 374–7 ink choice, 374–7 paper choice, 374 color consistency between devices, 358–60 color management and, 360 See also Color management contact sheets, 356 large format, 381–2, 383–5 upscaling techniques, 384 multiple prints on a page, 357 panoramas, 304–5 permanence, 377–81 comparisons, 379–80 matched papers and inks, 378 testing, 378–9 WIR certiﬁcation program, 380–1 Photo Collages, 342–4 Kodak Photo Book, 343–4 Print Photos, 343 preparation for professional outsourcing, 381–2 Print Preview, 343, 354–5 resolution, 352 workﬂow, 386 See also Printers Process Multiple Files feature, 113 Project Bin, 324, 328–30 actions, 329–30 Auto Fill, 329 Protecting photo collection, 102–8 backing up, 102–4 creating a backup, 103 frequency, 104

storage of duplicates, 104 Image Stack creation, 107–8 versioning edits, 105–6 PSE format, 324, 334, 342 printing, 342 Quantization, 398 Quick Fix Editor, 115 Quick Selection Tool, 134–5 fine-tuning, 135 QuickTime web plug-in, 306 VR movie format (QTVR), 307 converting Photomerge output to, 307 RAM designation, 390 Raw format, 35–9, 56–88 Adobe Photo Downloader use, 61–3 advantages, 39 camera-based plug-ins, 88 capture workflow and, 59–60 conversion process, 83–7 enabling the camera, 57–8 Canon, 58 Nikon, 58 processing, 38–9 See also Adobe Camera Raw Recovery, Adobe Camera Raw, 72, 85 Rectangular Marquee, 8 Red eye removal: Adobe Camera Raw, 80 Auto Red Eye Fix, 111 multiple photos, 114 Red removal, 248–9 Refine Edge feature, 135–6 Renaming files, 92–3 Resolution, 14–17, 352 input resolution, 15–16 printer resolution, 352 testing, 370 Raw format, 59 scanning resolution, 42–3, 397 Restoration, 254–70 adjusting shadow tones, 267 Clone Stamp, 256–7 Digital ROC (Recreation Of Colour) plug-in, 266 dust and scratch removal, 258–9

INDEX

Samples Per Inch (SPI), 15 Saturation: Adobe Camera Raw, 74, 86 Hue/Saturation control, 170–1, 174, 204–5 See also Color saturation Save Selection option, 137, 225 Saving images, 10 Scanners, 41–2 color management, 361–2 ﬁlm, 41 hybrid, 42 print, 41–2 resolution, 42–3, 397 Scanning: color cast correction, 46 color regeneration, 49 dust, 47 exposure adjustment, 45–6 multi-sample, 44 noise reduction, 48

problems, 53–4 scratches, 47 workflow, 50 Scratch Disk, 390, 391 Scratches, 47 photo restoration, 258–9 Screen color management, 362 calibration, 366–7 Search options, 100–2 Selection techniques, 132–41 adding to and subtracting from selections, 132 advanced refining of selection edges, 135–7 combining images, 224 loading selections, 137, 225 modifying selections, 138 Quick Selection Tool, 134–5 saving selections, 137, 225 Selection Brush, 132–3 painting masks with, 147 selection size control, 141 transforming a selection, 139–40 use to change tone, 159 using selections with layer masks, 149 Semi-automatic editing, 115–16 Adjust Smart Fix, 116 Quick Fix Editor, 115 Sepia tone, 169, 233–4 See also Tinted monochromes Shadows: adding detail to, 168–9 Adobe Camera Raw, 71, 84 drop shadow effect, 214–18 restoration of shadow tones, 267 ring flash shadow, 218–19 skin, toning down, 251 Shadows/Highlights feature, 222 Shape layers, 143 Sharpening, 9–10, 186–90 Adjust Sharpness tool, 189–90 Auto Sharpen, 10, 112 in-camera sharpening, 28–9 options, 186–7 Raw format, 60, 75–7, 86 Unsharp Mask, 187–8 Sharpness, 28–9

INDEX

faded images, 260–1 Levels based color restoration, 262–3, 264–5 recreating missing content, 268 scanned print, 264–5 stain removal, 269–70 Retouching, 240–52 blemish removal, 244–7 Clone Stamp tool, 244, 246 Healing Brush tool, 244, 247 Spot Healing Brush, 245–7 brightening eyes, 250 dreamy effect addition, 242 non-destructive, 252 red removal, 248–9 softening freckles, 243 toning down skin highlights and shadows, 251 RGB, 398 Adobe RGB, 365 sRGB, 365 Ring ﬂash shadow, 218–19 Rotate image, Adobe Camera Raw, 80, 83 Rotating pictures, 7 Rough Pastel ﬁlter, 236 Rubber Stamp tool, See Clone Stamp tool

411

INDEX

412

ADVANCED PHOTOSHOP ELEMENTS 6 FOR DIGITAL PHOTOGRAPHERS Shooting: panoramas, See Panoramas problems, 51–2 workflow, 40 Raw format, 58–60 Shutter, 23 Skin highlights and shadows, toning down, 251 Slide shows, 312 Smart Albums, 7, 96–8 creating a new Smart Album, 97 search criteria, 97 using Find to make Smart Albums, 98 Soft Light Blend Mode, 164 Software optimization, 390–1 Speed enhancement, 390–1 Spherize filter, 232 Split toning, 173–7 color variations based split toning, 176 Photoshop’s Color Balance split toning, 176–7 select and tone, 173–4 two-layer erase, 175 Sponge tool, 398 Spot Healing brush, 246, 247 Spreading image tones, 8–9 sRGB, 365 Stain removal, 269–70 Status bar, 398 Stock, 398 Straighten tool, Adobe Camera Raw, 80 Styles, 220–1 Swatches, 398 Tagging photos, 93–4 auto face tagging, 94 creating new Keyword Tags, 93–4 finding tagged photos, 101 Text Layers, 142 Texture, 183–5 Add Noise filter, 183 Grain filter, 184 non-destructive, 185 Themes, 324, 328 Thermal wax transfer, 351 Thumbnail, 398 Thumbnail and gallery website design, 312, 319

TIFF (Tagged Image File Format), 10, 36, 40, 398 Tinted monochromes, 169–72 borrowing Photoshop’s features, 172 Hue and Saturation use, 170–1 Toggle Full Screen, Adobe Camera Raw, 80 Toggle Mark for Delete, Adobe Camera Raw, 80 Tone control, 8–9, 11–12 enhancing poorly exposed pictures, 165–9 adding details to highlights and shadows, 168–9 screening image layers to enhance tones, 165–7 split toning: color variations based, 176 Photoshop’s Color Balance split toning, 176–7 select and tone, 173–4 two-layer erase, 275 tinted monochromes, 169–72 borrowing Photoshop’s features, 172 Hue/Saturation use, 170–1 See also Adobe Camera Raw; Burning-in; Dodging Transforming selections, 139–40 Underexposure, See Exposure Unsharp Mask ﬁlter, 10, 187–8 adding contrast, 198–9 Amount slider, 188 Radius slider, 188 Threshold slider, 188 Upscaling, 384 Variations feature, 9 Versioning, 105–6 Vibrance, Adobe Camera Raw, 74, 85 View, 98–100 Compare Photos Side by Side, 99–100 Date View, 99 Full Screen, 99 Photo Browser View, 98 Virtual reality (VR) panorama, 278, 306–9 camera equipment, 280–1 Warhol, Andy, 238 Warp tool, 398 Watercolor ﬁlter, 237 Websites:

INDEX

Zoom tool, Adobe Camera Raw, 79–80

INDEX

animation, sound and movies, 314 background, 321 matting, 322 building, 313–14 buttons, 314 front page, 395–6 headings, 314 images, 314 compression, 320–1 optimization, 319–21, 397 panoramas, 309 photo website styles, 312–13 texts, 314 See also Online Galleries tool White balance control, 29–34 auto white balance, 32 bracketing, 33 customizing, 34 light source white balance settings, 32–3 panoramas, 287 adjusting for changes in, 300–2 Raw format, 60, 68–9, 84 White Balance tool, 69, 80, 84 WIR certification program, 380–1 Workflow, 10 16-bit capture, 21 color-managed, 361–5 panoramas, 310 printing, 386 raw conversion, 83–7 scanning, 50 shooting workflow, 40 Raw format, 58–60

413

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s¬ Covers the entire raw workflow from beginning to end to help you solve the mysteries of this powerful technology s¬ See the power of a truly non-destructive, raw-based workflow s¬ Completely up-to-date to get you up to speed fast with the new features in software packages such as Adobe Photoshop, Elements, Adobe Camera Raw, and Lightroom s¬ Full-color photographs and screenshots provide essential illustrations in an easy to follow step-by-step format that shows you exactly how to work with your raw files ISBN: 9780240810270 – $39.95 / £24.99 – Paperback

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AdobeÂŽ PhotoshopÂŽ Elements 5.0 Aâ&#x20AC;&#x201C;Z Tools and features illustrated ready reference â&#x20AC;&#x153;...with Adobe Photoshop Elements Aâ&#x20AC;&#x201C;Z at your side you will be up to speed in no time.â&#x20AC;? Don Day, Photoshop Elements QE, Adobe Systems Inc. sÂŹ$ISCOVERÂŹANDÂŹMASTERÂŹTHEÂŹTOOLSÂŹANDÂŹFEATURESÂŹINÂŹ0HOTOSHOPÂŹ%LEMENTSÂŹ ÂŹWITHÂŹTHISÂŹ comprehensive, beautifully illustrated full color guide sÂŹ3AVEÂŹVALUABLEÂŹTIMEÂŹWHENÂŹTRYINGÂŹTOÂŹUNDERSTANDÂŹAÂŹFUNCTIONÂŹORÂŹTOOLÂŹnÂŹSIMPLYÂŹDIPÂŹINÂŹANDÂŹlÂŹNDÂŹTHEÂŹ listing in this easy-to-use Aâ&#x20AC;&#x201C;Z format sÂŹ$EDICATEDÂŹWEBSITEÂŹFULLÂŹOFÂŹRESOURCESÂŹANDÂŹVIDEOÂŹTUTORIALSÂŹnÂŹwww.elementsa-z.com ISBN: 9780240520612 â&#x20AC;&#x201C; $29.95/ ÂŁ17.99 â&#x20AC;&#x201C; Paperback Mark Galer Philip Andrews

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essential skills 8+ hours of movie support & royalty free high resolution images www.photoshopessentialskills.com

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